UNIVERSITY  OF  CALIFORNIA 
AT  LOS  ANGELES 


UNIVERSITY  of 
AT 

LOS  ANGELES 
LIBRARY 


WISCONSIN  PLAYS 


WISCONSIN  PLAYS 


THOMAS  H.  DICKINSON 


Editor 


Original   one-act    plays    from    the    repertory    of 
THE  WISCONSIN  DRAMATIC  SOCIETY 


ZONA  GALE 

THOMAS  H.  DICKINSON 
WILLIAM  ELLERY  LEONARD 


NEW  YORK 


THE  VIKING  PRESS 
1926 

142301 


Copyright,  1914,  by 
B.  W.  HUEBSCH 

Pint  printing,  November,  1914 
Second  printing,  March.  1917 

Third    printing,    February,    1915 
Fourth  printing,  August,  19^1) 
Fifth  Printing,  October,  1922 
Sixth  Printing,  October,  1926 


tRINTKD  IN  0.   l>.  ft* 


Ser.t 


The  authors  unite  in  dedicating  this  book  of 
Wisconsin  Plays  to 

LAURA  CASE  SHERRY 
who  as  director,  player,  and  writer  has 

been  a  large  factor  in  the  life  of 
The  Wisconsin  Dramatic  Society 


FOREWORD 

The  Wisconsin  Plays  were  written  under  the 
influence  of  a  local  movement  in  behalf  of  a  bet 
ter  dramatic  art  in  which  the  Wisconsin  Dra 
matic  Society  has  been  an  active  agency.  The 
majority  of  the  plays  in  the  series  belong  to  the 
repertory  of  the  Society  and  have  been  presented 
in  regular  performances  in  Madison  and  Mil 
waukee,  and  on  tour  in  other  places  in  the  Mid 
dle  West.  The  authors  of  these  plays  disclaim 
any  desire  whatever  to  inaugurate  a  new  order  of 
playwriting.  Their  chief  purpose,  aside  from 
the  personal  motive  that  impels  every  work  of 
art,  has  been  to  provide  for  the  section  in  which 
they  live  the  impulse  of  the  practice  of  an  art  as 
a  corrective  of  standards,  as  distinguished  from 
the  principle  of  a  referendum  of  standards  to  the 
people.  In  a  strict  sense  it  has  been  the  ideal  of 
the  Wisconsin  Dramatic  Society  to  be  a  free- 
stage  society,  free,  that  is,  in  the  sense  of  free 
dom  from  commercial  necessities,  from  profes 
sional  trammels,  even  from  a  too  insistent  social 


FOREWORD 

purpose;  in  other  words,  free  to  experiment  with 
a  rapidly  changing  art  and  to  trace  out  in  practice 
its  growing  social  implications.  The  plays  which 
make  up  this  series  constitute  one  factor  of  an 
experimental  programme,  which  has  been  directed 
to  the  cultivation  of  a  better  dramatic  art,  by 
means  of  the  training  of  actors,  and  the  encour 
agement  of  the  study,  criticism,  and  writing  of 
plays. 

THOMAS  H.  DICKINSON. 


THE  NEIGHBOURS 
BY  ZONA  GALE 

PAGE  1 

IN  HOSPITAL 
BY  THOMAS  H.  DICKINSON 

PAGE  69 

GLORY  OF  THE  MORNING 

BY  WILLIAM  ELLERY  LEONARD 

PAGE  113 


THE  NEIGHBOURS 
BY  ZONA  GALE 


PERSONS  OF  THE  PLAY 


INEZ 

Mis'  ELMIRA  MORAN 

Mis'  TROT 

Mis'  CARRY  ELLSWORTH 


THE  NEIGHBOURS 

A  kitchen.  At  the  right  an  ironing-board,  with 
full  clothes-basket  on  the  floor.  At  the  back 
an  open  door,  an  open  window  with  blooming 
plants  on  its  outside  sill,  and  a  wide  cupboard 
with  a  figured  calico  curtain  before  it.  At  the 
left  an  exit  into  a  shed.  A  wooden  bottomed 
rocker  with  high  back  and  calico  cushion,  some 
wooden  bottomed  straight  chairs,  a  table  cov 
ered  with  a  red  cloth  and  ranged  with  four  or 
five  lamps,  and  at  the  corner  farthest  from  the 
ironing-board,  clothes-bars  spread  with  a  few 
freshly-ironed  pieces. 

By  the  window,  left  back,  sits  GRANDMA  who 
does  not  leave  her  chair  throughout  the  play 
until  its  end.  She  is  very  old.  She  is  in 
bright-coloured  calico,  with  ribbons  on  her 
black  cap.  She  is  cutting  and  winding  white 
and  black  carpet  rags,  and  a  basket  of  the  balls 
is  beside  her  on  the  floor. 

Mis'  DIANTHA  ABEL  is  ironing  at  the  board.     She 
has  on  a  blue  calico  gown,  a  long  gingham 
5 


6  WISCONSIN  PLAYS 

apron,  spectacles,  and  a  black  hat  trimmed  with 
faded  flowers  and  a  dilapidated  ostrich  feather. 
She  irons  slowly,  as  anybody  would  iron,  tests 
her  flat-iron,  starts  for  the  shed  to  renew  it  at 
the  stove  out  there. 

GRANDMA 

[Looking  up.]  Seems  to  me  Inez  is  a  terrible 
long  time  gettin'  that  starch. 

MIS'    ABEL 

I  wish  she'd  hurry  herself  back.  I  ain't  got 
enough  starch  to  do  the  collars. 

GRANDMA 

I'll  cold-starch  'em  for  you,  if  you  want. 

MIS'    ABEL 

No,  Grandma,  you  jest  set  still  and  take  care 
o'  yourself.  Don't  you  go  botherin'  about  other 
f oiks' s  work. 

GRANDMA 

I'm  terrible  tired  cutting  up  carpet  rags. 
[Mis'  ABEL  disappears  in  the  shed.  GRANDMA, 
sorting  her  rags,  talks  on,  raising  her  voice  to 
follow  Mis'  ABEL.]  'Tain't  as  though  they  was 
goin'  to  be  rugs.  We  got  rag  rugs  all  over  the 


THE  NEIGHBOURS  7 

house  now.  So  has  everybody  else  we  know. 
Everybody's  floors  is  plastered  with  'em.  I  been 
cuttin'  rags  ever  since  I  came  an'  doin'  nothin' 
.  .  .  [Mis'  ABEL  returns  with  her  fresh  iron, 
testing  it  as  she  comes]  .  .  .  but  cuttin'  rags. 
Seems  like  I'd  ought  to  be  able  to  make  somethin' 
else  with  my  fingers.  Somethin'  human.  Where 
you  goin',  Dianthy*? 

MIS'  ABEL 

I'm  a-goin'  to  get  this  ironin'  out  of  the  way, 
short  off.  That  is,  I  am  if  Inez  ever  gets  back 
from  Mis'  Ellsworth's  with  that  cup  o'  starch. 

GRANDMA 

What  you  got  your  hat  on  for? 

MIS'    ABEL 

So's  if  anybody  runs  in  they  won't  set  half 
the  day,  henderin'  me.  They'll  think  I'm  goin' 
off. 

GRANDMA 

I  know.  The  neighbours  do  hender  terrible. 
[A  pause.]  Sometimes,  though,  I  think  it  must 
be  kind  o'  nice  to  have  somethin'  to  be  hendered 
at. 


8  WISCONSIN  PLAYS 

MIS'    ABEL 

[Ironing — but  not  fast.}  I  always  say  morn- 
in's  is  wove  and  cut  out  for  hard  work.  I  don't 
want  Mis'  Moran  or  somebody  comin'  in  an'  set- 
tin'  the  whole  forenoon.  This  ironin's  got  to  be 
got  out  of  the  way  this  mornin',  no  matter  what 
happens  to  who. 

[Her  iron  sticks,  and  she  rubs  it  vigorously 
on  the  carpet. 

GRANDMA 

[Who  has  dropped  her  work  and  is  reaching 
to  pick  dead  leaves  of  the  plants  in  the  window. .] 
I  don't  seem  to  have  no  go  in  me  no  more.  I 
don't  know  what's  come  over  me.  I  ain't  no 
more  interested  in  them  carpet  rags  than  I  am 
in  the  dipthery. 

[EZRA  WILLIAMS  appears  at  the  open  win 
dow.  He  is  large  and  flushed  and  furi 
ous. 

EZRA 
Mis'  Abel!     Mis'  Abel! 

MIS'    ABEL 

[Looks  at  him,  then  turns  and  goes  on  ironing. .] 
Well,  Ezra,  as  a  family,  we  ain't  deef. 


THE  NEIGHBOURS  9 

EZRA 

Is  this  you  f oiks' s  wood  out  here1? 

MIS'    ABEL 

[Over  shoulder.]      Wood? 

EZRA 

I  want  to  know  if  you  folks  ordered  any  cord 
wood? 

MIS'    ABEL 

No.     We  didn't  order  no  wood. 

EZRA 

Well,  they've  brought  you  some.  Only 
they've  unpiled  it  in  front  of  my  door  on  the 
piece  that's  new-seeded  and  that  I've  tended  like 
a  baby. 

MIS'  ABEL 

Ezra,  you're  that  reasonable  that  I  s'pose  it's 
reasonin'  that  keeps  you  so  calm.  That  wood 
never  heard  of  us. 

EZRA 
You  sure? 

MIS'    ABEL 

Not  as  sure  as  you  are  about  things.  You 
don't  often  find  folks  as  sure  as  that.  But — 
sure. 


10  WISCONSIN  PLAYS 

EZRA 

Well,  it's  somebody's  fool  wood,  an'  I've  got 
to  go  an'  find  the  fool  that  ordered  it  up —  [He 
strides  off,  still  talking.]  Whoever  heard  o* 
anybody  gettin'  cord  wood  in,  anyhow,  in  the 
middle  o'  the  summer4? 

[GRANDMA,  who  has  stopped  picking  of 
dead  leaves  and  has  listened  attentively 
during  his  stay,  looks  after  him  till  he 
disappears;  then  she  turns. 

GRANDMA 

What  did  he  say? 

MIS'    ABEL 

Did  he  talk  too  soft  for  you,  Grandma? 

GRANDMA 

He  was  so  mad  I  couldn't  keep  my  mind  on 
what  he  was  saying. 

MIS'  ABEL 

Oh,  well,  he  was  just  talkin'  to  hear  himself 
talk.  About  some  cord  wood. 

GRANDMA 

It  don't  seem  as  if  anybody  could  be  so  inter 
ested  in  cord  wood. 


THE  NEIGHBOURS  11 

MIS'    ABEL 

They  ain't  nothin'  in  the  world  for  Ezra  but 
just  Ezra.  Nothin'  in  the  world  for  him  but 
just — him. 

GRANDMA 

[Looking  off.}  Don't  you  s'pose  there  is?  It 
don't  seem  like  they's  enough  to  anybody  to  oc 
cupy  'em  the  whole  time. 

[Up  to  the  open  door  comes  PETER.  He  is 
tall,  awkward,  grave;  long,  uncovered 
wrists,  heavy,  falling  hands;  but  he  has 
an  occasional  wide,  pleasant,  shy  smile. 

PETER 
[On  the  porch.}     Good  morning,  Mis'  Abel. 

MIS'    ABEL 

Oh,  good  morning,  Peter.  I  just  happen  to 
be  ironin'  a  flat-piece,  so  I  don't  have  to  put  my 
mind  on  it.  I'm  goin'  to  do  the  collars  next 
[pointedly},  and  they  take  thought.  What's 
wanted  *? 

PETER 

[Shuffling,  turning  his  hat.}  Any  groceries 
this  morning,  Mis'  Abel*? 


12  WISCONSIN  PLAYS 

MIS'    ABEL 

Groceries? 

PETER 

[Nods  and  enters.]  I've  started  takin'  orders 
for  Ferguson. 

MIS'  ABEL 

Well,  I'm  glad  to  hear  that.  When  do  you 
start? 

PETER 

To-day. 

MIS'    ABEL 

Does  many  order  to  the  door"? 

•    PETER 

I  dunno.  I've  just  started.  I'm  just  startin'. 
Now. 

MIS'    ABEL 

[Rubbing  her  iron  on  the  carpet.]  I  ain't 
doin'  no  orderin'  to-day.  We've  got  to  eat  up 
what  we've  got.  Unless  you  want  to  bring  me 
fif  cents  worth  o'  granulated  sugar.  You  might 
do  that.  Get  up  there  and  get  me  that  basket 
of  odds  an'  ends  on  the  top  of  the  cupboard. 
Seems  to  me  I  see  a  piece  o'  beeswax  up  there. 


THE  NEIGHBOURS  13 

PETER 

{Finishes  writing  down  the  order  for  sugar  and 
brings  a  chair  from  near  GRANDMA'S  chair. ~\  I 
thought  I'd  just  stop  in  an'  see.  You  don't  think 
she — [he  stumbles  over  the  chair  he  is  carrying] 
— she  wouldn't  want  anything  this  morning, 
would  she,  Mis'  Abel1? 

MIS'  ABEL 
Who's  she?     Who  you  talking  about? 

PETER 
Why,  Inez. 

MIS'    ABEL 

I  thought  it  was  Inez.  Why  didn't  you  say 
so  in  the  first  place?  I  hate  di-plomacy  in  man 
or  beast. 

PETER 

[  Who  has  not  quite  reached  the  cupboard  with 
the  chair i  sets  it  down  and  turns  abruptly, .] 
Well,  then,  I'll  say  it  now.  Mis'  Abel!  Why 
don't  she  treat  me  right? 

MIS'    ABEL 

Treat  you  right?  [PETER,  his  momentary 
courage  going.,  takes  the  chair  on  over  to  the  cup- 


14  WISCONSIN  PLAYS 

board,  turns,  nods  mutely.}  Why,  I  don't  see 
how  she  can.  Near  as  I  can  make  out,  you  never 
open  your  head  when  you're  with  her. 

PETER 

[Climbing  on  chair.}  It's  funny  about  me, 
Mis'  Abel.  [From  the  chair.}  Honest,  I  dunno 
what  to  do  about  me,  sometimes. 

MIS'  ABEL 
Well,  stop  thinkin'  about  you  so  much. 

PETER 

[Spreading  out  his  hands.}  I  do  try  to.  But 
when  I  try  to  think  how  to  stop  myself  thinking 
about  myself,  there's  myself  thinkin'  about  me. 

MIS'  ABEL 

Think  about  somethin'  else,  then!  Get  me 
down  that  basket.  You  can  stand  and  talk  to 
me  all  day.  I  don't  see  why  you  can't  talk  to  her. 

PETER 

[Reaching  for  basket.}  I  could  talk  all  right 
enough.  But  my  tongue  won't.  I  could — but 
my  tongue,  it  won't.  [Turns  with  the  basket.} 
Why,  some  girls  I  know  I  can  jolly  like  the  dick- 


THE  NEIGHBOURS  15 

ens.  But  Inez — when  she  comes  along,  Mis' 
Abel,  I  can't  remember  anything  I  know.  [Has 
down  the  basket  and  turns  with  it  in  his  hands.] 
History  now — I  know  a  real  lot  of  history.  And 
about  birds  and  things.  I'd  like  to  talk  with  her 
about  them.  But  last  week,  when  I  took  her  to 
the  picnic,  I  couldn't  think  out  any  of  'em  to  say 
no  more'n  a  'hen. 

[He  makes  a  large  gesture  with  the  basket 
at  a  perilous  angle. 

MIS'    ABEL 

[With  a  quick  movement  to  catch  the  basket, .] 
Well,  don't  ask  me  to  tell  you  how  to  court. 
Men  that  don't  know  history  from  a  coach-and- 
four  can  court  successful.  {Hunting  for  bees 
wax  in  the  basket .]  But  you  can't  expect  Inez 
to  know  whether  she  likes  you  or  not  if  you  sit 
like  a  block.  Say  something — do  something,  so's 
she'll  know  you're  alive. 

PETER 

[Despondently,  as  he  climbs  down.]  I  know 
it.  I  ain't  much.  An'  what  little  I  am  don't 
show  through  somehow.  [He  drags  the  chair 
back  to  its  place  beside  GRANDMA  in  Mis'  ABEL'S 
assenting  silence.  Sets  the  chair  down  with  a 


16  WISCONSIN  PLAYS 

bang.}     Honest,  Mis'  Abel,  I  wouldn't  care  much 
what  happened  to  me. 

[GRANDMA  looks  up  at  him,  and  drops  a 
ball  of  carpet  rags.  PETER  picks  it  up 
and  it  unrolls  away  from  him  toward  the 
door.  GRANDMA  suddenly  laughs  out,  an 
old  woman's  laugh,  shrill,  but  not  un 
kindly. 

PETER 
[Miserably.}     I  guess  I  am  a  joke. 

GRANDMA 

Joke  nothin'.  You're  a  human.  You're  a 
human  an'  you  don't  know  it.  I  see  a-many  in 
my  day. 

MIS'  ABEL 

[Waxing  her  iron.}  Well,  a  body  needn't  be 
a  fool  if  they  are  human.  My  goodness,  if  Inez 
don't  get  here  with  that  starch — 

[INEZ  comes  up  on  the  porch.  She  is  slight, 
and  very  girlish.  She  wears  a  straight, 
dull  reddish  gown.  She  is  hatless  and  ex 
cited. 

INEZ 

[With  marked  and  slightly  ironical  sweetness 
to  PETER,  who  is  almost  at  the  door.}  So  sorry 


THE  NEIGHBOURS  17 

to    have    missed    you,    Peter.     Good-bye,    then. 
Mother !     Guess ! 

MIS'    ABEL 

[Ironing. ,]     Guess  what*?     I'm  too  busy. 

INEZ 

Well,    but   listen.     It's   important.     It's    aw 
ful- 
Mis'  ABEL 

[Pausing,  iron  in  hand,  and  looking  over  her 
shoulder.}  Well,  out  with  it.  What  is  it*? 
What  you  making  such  a  fuss  about  it  for*? 

INEZ 

It's  Mis'  Ellsworth's  sister.  She's  died  out 
West.  And  they're  sending  her  little  boy  out 
here  to  Mis'  Ellsworth. 

MIS'    ABEL 
i 

[Setting  down  her  iron.}  My  land  a  living! 
Carry  Ellsworth  with  a  boy  on  top  of  everything 
else! 

INEZ 

I  know  it.  She  just  heard  last  night.  And 
she's  home  trying  to  think  what  to  do. 


i8  WISCONSIN  PLAYS 

MIS'    ABEL 

When's  he  going  to  get  here? 

X 

INEZ 

To-night.     To-night  on  the  7 158. 

MIS'  ABEL 

\Pushing  her  hair  back  and  taking  her  hat  with 
*/.]  Ain't  that  just  the  end  of  everything*? 

INEZ 
And  her  with  nobody  to  do  a  thing  for  her. 

PETER 

[Who  has  dropped  the  ball  again  at  sight  of 
INEZ,  has  been  making  more  and  more  of  a  tan 
gle  of  the  carpet  rags  ever  since  she  entered. \ 
They  couldn't  anybody  do  anything,  could  they*? 

INEZ 

Well,  of  course  they  could !  There'll  be  things 
for  everybody  to  do  that  knows  her. 

[PETER  comes  toward  her,  his  tangle  of  car 
pet  rags  following  him.  He  and  INEZ 
talk  apart,  he  awkward  and  mostly  mute, 
she  evidently  mocking  him  as  they  try  to 
disentangle  the  rags. 


THE  NEIGHBOURS  19 

MIS'    ABEL 

[Has  walked  over  toward  GRANDMA  and 
stands,  one  arm  akimbo.']  Did  you  understand, 
Grandma,  Carry  Ellsworth's  sister's  boy  is  com 
ing  to  live  with  her. 

[  With  disapproving  emphasis. 

GRANDMA 

Boy?     A  little  boy? 

MIS'    ABEL 

Yes,  sir.  To-night.  Comin'  to-night  on  the 
7:58. 

GRANDMA 

[Placidly.}     Ain't  that  nice? 

MIS'    ABEL 

Nice?     And  her  all  alone  in  the  world? 

GRANDMA 

Yes.  Him  comin'  and  her  all  alone.  She 
won't  be  alone  no  more.  I  wish't  I  was  younger 
and  could  do  for  on-e. 

MIS'  ABEL 

My  land,  I  should  think  you've  had  enough  to 
do  for.  I  guess  you  never  had  no  peace  till  you 


20  WISCONSIN  PLAYS 

come  into  our  family  that  you  didn't  begin  by 
belongin'  to. 

GRANDMA 

[Bursting  out.}  Peace!  That's  it.  Now 
I've  got  peace.  Peace  an'  carpet  rags. 

[  When  they  are  not  looking  she  gives  a  big 
white  ball  of  carpet  rags  a  vicious  throw 
through  the  shed  door. 

MIS'  ABEL 

[Harking  back.}  Nice.  You  think  it's  nice. 
Why,  Carry  Ellsworth  won't  know  what  to 
do  with  a  boy  no  more  than  nothing  in  this 
world.  I  dunno  what  she  is  goin'  to  do  to  dress 
him. 

INEZ 

[Turning  with  the  properly  wound  ball.} 
We'll  have  to  think  of  somebody  that'll  have  some 
cast-off  clothes. 

MIS'  ABEL 

[Impatiently.}  Boy's  duds  makes  awful  good 
weather  strips.  Before  we  got  the  upstairs  plas 
tered  I  use'  to  wish  I'd  had' a  boy  or  two.  It's 
goin'  to  be  an  awful  nuisance,  doin'  for  him. 


THE  NEIGHBOURS  21 

There's  some  of  your  pa's  clothes  she  might  use. 
I  dunno's  it'll  need  clothes  first  pop,  though.  But 
they's  everything  to  think  of — 

[PETER  starts  forward,  his  face  bright  with 
what  he  means  to  try  to  say. 

PETER 

Oh,  Inez.  .  .  .  That  is,  oh,  Mis'  Abel.  I'm  a 
boy.  I  mean  I  was  a  boy.  I  mean  I've  got  some 
trousers — and  a  coat — and  another  coat.  Shall  I 

get  'em? 

MIS'    ABEL 

What  do  you  mean — something  to  cut  over*? 
Well,  get  'em,  of  course.  What  you  standing 
there  for?  Get  'em  and  bring  'em  here.  Inez, 
you  run  over  an'  ask  Mis'  Trot  to  come  in  for  a 
minute.  Mind  you  say  a  minute^  or  she'll  set  the 
whole  forenoon. 

PETER 

[At  the  door.]  Are  you  comin'  now,  Inez?  I 
— I  go  that  way  too. 

INEZ 

[Airily.]  Oh,  don't  you  wait  for  me,  Peter. 
I've  got  some  things  to  see  to. 

[Exit  PETER,  looking  at  her  dumbly. 


22  WISCONSIN  PLAYS 

INEZ 

Mother,  hasn't  Peter  got  any  lungs? 

MIS'  ABEL 
Lungs? 

INEZ 

Or  maybe  it's  brains.  He  looks  nice  enough — 
he  looks  real  nice.  But  he  acts  as  if  he  didn't 
have  good  sense  when  it  comes  to  talkin'. 

MIS'  ABEL 
Your  pa  was  the  same  way. 

INEZ 
[Indignant.}     Father? 

MIS'  ABEL 

Certainly.  After  we  was  married,  whenever 
he  begun  actin'  like  he  knew  it  all,  an'  like  I 
wasn't  no  thin'  but  the  fly-leaf  o'  things,  I  used 
to  remember  how  perfectly  simple  he  did  use'  to 
act  when  I  first  knew  him — when  he  was  first 
makin'  up.  An'  many's  the  time  I've  just  laughed 
to  myself,  and  gone  and  done  like  he  told  me  to, 
sheer  through  rememberin'  how  simple  and  scairt 
and  green  he  did  use  to  act. 


THE  NEIGHBOURS  23 

INEZ 

'[Softly.]     Father?    Father! 

MIS'    ABEL 

Him.  Now  run  for  Mis'  Trot  and  don't  be 
lettin'  me  let  my  spare  room  pillow  shams  dry. 
I  guess  I'll  carry  this  one  in  here  out  o'  the 
dirt. 

[Exit  with  sham. 

GRANDMA 

Daniel  was  like  that  too.  He  done  things  reg 
ular  greenhorn.  I  remember  the  day  we  was  en 
gaged,  he  almost  made  such  a  botch  of  it  I  didn't 
know  what  he  meant.  He  busts  out  and  says, 
"Will  you?"  an'  I  thought  he  meant  would  I  go 
to  the  huskin'  bee  and  I  said,  "Yes."  When  I 
see  my  mistake — well,  I  let  it  go  at  that.  I  see 
what  hard  work  he  was  makin'  of  it. 

INEZ 

That  was  old  uncle  Daniel,  wasn't  it?  I  re 
member  him.  He  was  awful  old. 

GRANDMA 

Well,  but  I  bet  he  was  consider'ble  more  up  to 
snuff  than  your  young  popinjays  is  now! 


24  WISCONSIN  PLAYS 

INEZ 

[Hastily.]  Oh,  yes.  Oh,  I  know —  [She 
retreats  to  the  door  and  is  met  on  the  threshold 
by  Mis'  ELMIRA  MORAN.]  Oh,  good  morning, 
Mis'  Moran.  Come  in.  Mother'll  be  back  in  a 
minute.  Sit  down. 

[Exit. 

MIS*    MORAN 

[Stout,  sixty,  gets  about  with  difficulty.  She 
has  a  scarf  wound  many  times  about  her  head,  but 
no  shawl.  Unwinds  scarf  deliberately  and  sinks 
in  rocker  as  she  speaks.]  I  dunno  as  I  can.  My 
leg  is  so  bad  I  can  hardly  hobble.  And  my  left 
shoulder  don't  get  no  better.  Nor  my  head — it 
don't  act  right.  I  dunno  but  my  time  is  come  and 
my  grave  is  diggin'  around  the  next  corner.  I 
feel  that  way.  I  told  Jake  so. 

[Enter  Mis'  ABEL. 

MIS'  ABEL 

Good  mornin',  Mis'  Moran.  Ain't  it  just  per 
fectly  dreadful  about — 

MIS'  MORAN 

Dreadful!  I  dunno  what  I  am  goin'  to  do  if 
it  keeps  up.  I  was  just  say  in',  I  said  so  to  Jake 


THE  NEIGHBOURS  25 

only  this  mornin'.  I  says,  "Jake,"  I  says,  "I'm 
gettin'  so  that  I'm  su'prised  whenever  I  wake  up 
alive.  Whenever  I  do  it,"  I  says,  "it's  like  every 
blessed  mornin'  of  my  life  was  a  genu-ine  resur 
rection  for  me.  I  feel  it." 

MIS'  ABEL 
What  you  talkin'  about? 

MIS'  MORAN 

If  that  ain't  just  like  Jake's  treatment  of  me. 
Right  while  I  was  talkin'  to  him,  Jake  asked  me  if 
I'd  remembered  to  set  the  pancakes.  Said  he 
didn't  hear  me  do  it. 

MIS'  ABEL 
Well,  but  land,  land — what's  that  got  to  do — 

MIS'    MORAN 

I'd  been  goin'  to  tell  him  about  my  back,  but 
I  hadn't  the  heart.  I  just  laid  and  cried.  Mis' 
Abel,  my  back's  been  behavin'  so  queer,  I  can 
hardly  move  it.  Why,  the  last  few  days — 

MIS'  ABEL 
[Positively.}     Just  you  put  your  finger  on  the 


26  WISCONSIN  PLAYS 

place,  Elmiry  Moran,  till  I  tell  you  the  news. 
Carry  Ellsworth's  got  a  baby. 

MIS'  MORAN 

[Sits  bolt  upright  suddenly  and  with  ease.]  A 
what? 

MIS'    ABEL 

,Yes,  sir.     It  ain't  here  yet.     It's  due  to-night. 

MIS'  MORAN 

[Rises,  steps  toward  Mis'  ABEL  easily  and 
eagerly.]  What  under  the  sun  do  you  mean, 
Dianthy  Abel"?  Carry  Ellsworth's  goin'  to  have 
a  baby  .  .  . 

MIS'    ABEL 

To-night.  On  the  7 158.  Her  sister's  that  died 
out  West.  At  least  the  boy's  alive  and  they're 
sending  him  to  her. 

MIS'  MORAN 

[Limps  slowly  back  to  her  chair.]  You'd 
ought  not  to  give  me  them  turns,  Dianthy.  The 
doctor  says  I  mustn't  forget  for  a  single  minute 
the  condition  I'm  in.  How  old  is  he? 

MIS'    ABEL 

Well,  let  me  see.  .  .  . 


THE  NEIGHBOURS  27 

[INEZ  appears  in  doorway  with  Mis'  TROT. 
Mis'  TROT  is  little  and  "wiry"  and  active 
and  alert.  She  comes  in  with  a  collar  in 
one  hand  and  a  brooch  in  the  other. 

INEZ 
Here's  Mis'  Trot,  Mother. 

MIS'  TROT 

Well,  did  you  ever  hear  anything  like  it,  ever? 
Carry  Ellsworth,  of  all  the  folks  under  the  canopy, 

MIS'  ABEL 
That's  just  exactly  what  I  said. 

INEZ 

[Going  to  table  where  lamps  are  ranged  and 
beginning  to  clean  them.]  How  much  does  she 
get  a  month  now? 

MIS'  TROT 

[At  the  mirror  over  the  shelf,  putting  on  her 
collar,  speaks  with  the  brooch  between  her  lips.] 
Why,  she  only  gets  her  eight  dollars  a  month  pen 
sion  from  her  husband's  leg. 


28  WISCONSIN  PLAYS 

MIS'    ABEL 

And  then  of  course  whatever  she  earns  substi- 
tutin'  clerkin',  when  clerks  are  sick. 

MIS'  MORAN 

But  barrin'  Christmas  week  I  don't  believe  that 
amounts  to  shucks  for  pay. 

MIS'  TROT 

[Drawing  up  as  a  matter  of  course  to  help  INEZ 
with  the  lamp  chimneys.]  It  struck  me  all  of  a 
heap.  An'  we'd  just  found  a  buffalo  bug  in  the 
parlour  carpet.  Yes,  sir.  A  buffalo  bug.  In  my 
parlour.  I  tried  to  step  on  it — but  you  know  how 
they  are.  No  corpse  to  'em  whatever.  I  couldn't 
tell  whether  I  hit  it  or  not — and  they  always  run 
like  horses.  I've  come  right  off  an'  left  him  there, 
if  he  is  there.  I  wouldn't  of  done  such  a  thing, 
but,  thinks  I,  what's  Carry  Ellsworth  goin'  to  do? 
How  old's  this  child? 

MIS*    ABEL 

That's  what  we  was  figurin'  when  you  come  in. 
Now,  Lucretia  Ellsworth  was  married  the  year 
we  moved  out  of  the  Kane  house — no,  that  was 
Elmira,  wasn't  it?  I  guess  Lucretia  wasn't  mar 
ried  till  the  next  year.  We  was  livin'  in  the 
Mitchell  house. 


THE  NEIGHBOURS  29 

MIS'    MORAN 

I  thought  you  lived  in  the  Mitchell  house  be 
fore  you  lived  in  the  Kane?  Wasn't  you  livin' 
in  the  Mitchell  house  when  our  barn  burned? 

MIS'  TROT 

N — o.  [That  '-peculiar,  long-drawn  "no,"  with 
a  sound  of  d  in  the  n.]  You  wasn't.  Why — [to 
Mis'  MORAN] — your  barn  never  burned  till  the 
winter  I  was  livin'  alone.  I  remember  wakin'  up 
alone  in  the  house  and  seein'  the  glare. 

MIS'  ABEL 

I  know  we  was  livin'  in  the  Mitchell  house  when 
Lucretia  was  married  because  I  remember  runnin' 
acrost  home  for  more  spoons  durin'  the  ceremony. 
I  know  I  missed  my  cry  altogether,  'count  o'  not 
gettin'  back  till  the  congratulations.  I'd  hid  my 
spoons  in  the  spare  room  closet  and  I  come  over 
after  'em,  all  hurried  and  rattled  an'  dressed  up 
and  I  could  not  remember  where  I'd  put  them. 
Let's  see  that  was  six — seven — eight — 

MIS'  MORAN 

Oh,  that  wasn't  more'n  seven  years  ago  this 
summer.  Because  we  bought  out  the  Sparks 
grocery  most  eight  years  ago,  an'  I  remember 


30  WISCONSIN  PLAYS 

sellin*   Hackett   Ellsworth   the   five   pounds   o* 
rice. 

MIS'  TROT 

Why,  Mis'  Moran — it  was  all  of  eight  years 
ago.  You  forget  how  Time  flies.  I'd  'a'  said 
nine,  to  be  on  the  safe  side. 

MIS'    ABEL 

Yes,  it  must  'a'  been  eight  years  ago.  I  know 
it  was  the  year  Inez  had  her  first  ready-made  suit. 
Yes,  Carry's  boy  must  be  about  six-seven  years 
old.  It  don't  seem  possible. 

INEZ 

Carry*?  I  thought  you  said  Lucretia's  wed 
ding*? 

MIS'  ABEL 

Well,  Carry  was  married  right  after.  She 
hadn't  meant  to  be  so  soon.  But  her  father  didn't 
want  to  put  up  the  parlour  stove  so  long's  the  girls 
wasn't  goin'  to  be  home,  so  she  was  married  in 
the  fall  to  save  the  bother  of  a  stove  weddin'. 

MIS'  MORAN 

Six-seven  years  old.  Land,  land.  Just  the 
hard  age  to  take  care  of,  when  they  begin  to  be 
smart.  What  is  she  goin'  to  do4? 


THE  NEIGHBOURS  31! 

MIS'    ABEL 

Just  his  mere  victuals  is  an  item. 

MIS'  TROT 

[Sighing.]  Yes,  sir.  Another  mouth  is  an 
other  mouth  excep'  when  it's  a  boy's  mouth. 
Then  it's  a  regular  bureau  drawer. 

MIS'    MORAN 

This  is  goin'  to  be  an  awful  pull  for  the  poor 
thing.  She  wouldn't  take  money,  though,  I  don't 
suppose,  even  if  anybody  had  any  to  offer 
her? 

INEZ 

Oh — not  money ! 

MIS'  TROT 

No — the  last  way  to  help  anybody  is  to  give  'em 
money. 

MIS'  MORAN 

Well,  of  course  Carry'll  look  to  us  all  to  advise 
her  some. 

MIS'  TROT 

Oh,  I  dunno  but  advice  is  next  worse  than 
money. 


32  WISCONSIN  PLAYS 

MIS'    ABEL 

Well,  it's  goin'  to  be  a  terrible  lot  of  trouble, 
whatever  way  you  look  at  it.  I  should  say  the 
thing  she  needs  is  a  job.  But  while  she's  gettin* 
it  she'd  ought  to  have  some  clothes  and  some  extry 
bedding  and  I  dunno  what  all.  And  you  know 
what  that  means — attemptin'  to  get  together  truck 
like  that. 

MIS'  TROT 

I  could  'a'  done  a  little  somethin'  to-day  if  it 
hadn't  been  for  that  buffalo  bug.  But  as  it  is  I 
mustn't  stay  a  minute  longer.  That  animal'll  be 
up  into  my  lace  curtains.  How  you  goin'  to  go 
at  gettin'  the  stuff  together1? 

MIS'  ABEL 

[Ironing  hard.  ]  Well,  I  do  hate  to  load  it  onto 
her  in  tied-up  bundles  at  the  back  door.  I  dunno 
but  we'd  ought  to  go  to  the  trouble  of  a  pound 
party  or  somethin'  like  that. 

MIS'  TROT 

[Looking  up  with  changing  expression.]  That 
would  be  kind  of  nice — wouldn't  it? 

MIS'  ABEL 

Carry  didn't  have  much  of  any  wedding  pres 
ents.  And  she  never  had  a  baby.  I  dunno  as 


THE  NEIGHBOURS  33 

I  ever  set  foot  in  her  house  to  any  real  occasion 
excep'  a  funeral.  [Turns  with  her  iron  in  Tier 
hand.}  S'posin'  we  was  to  give  her  a  kind  of 
a  shower? 

MIS'    MORAN 

A  what?     A  shower? 

MIS'  TROT 
Like  they  have  for  babies? 

INEZ 

Oh,  no.  I  know  what  Mother  means.  Like 
they  have  for  brides. 

MIS'    ABEL 

[Sets  down  her  iron,  turns  and  leans  against 
the  ironing-board.  Puts  pillow  sham  on  chair- 
back.}  I  mean  a  shower — whether  for  bride, 
babe,  or  just  anybody.  It  would  be  a  lot  of  back- 
aching  work,  but  we  could  make  it  real  nice  for 
her. 

GRANDMA 

[Who  has  worked  on,  without  looking  up,  un 
til  Mis'  ABEL  has  said  "shower."  Then  she  has 
listened.}  So  you  could.  Go  on  and  do  it. 
Seems  to  me  you  could  make  it  so  sort  of  sociable 


34  WISCONSIN  PLAYS 

and  friendly  it  wouldn't  seem  a  bit  nasty,  like 
charity  does. 

MIS'  TROT 

[Looking  away,  with  expression  growing  more 
rapt.]  Be  kind  of  nice  if  you  could  have  it  the 
night  the  child  gets  here.  But  that's  to-night. 
Of  course  you  couldn't  do  that. 

MIS'  MORAN 

Well,  of  course,  I  can't  do  a  thing  on  account 
o*  my  back.  But  I  should  think  if  you  could 
scrape  the  things  together  to-day  so's  to  take  'em 
with  you  when  you  go,  you  could  have  it  to-night 
all  right. 

MIS'  TROT 

[Sitting  upright — not  suddenly,  but  still  wiiH 
her  rapt  manner,  leaning  forward  with  her  hands 
across  her  knees.]  An'  be  there  with  'em  when 
she  comes  back  from  the  depot  with  the  boy! 

MIS'  MORAN 

And  you  could  have  all  the  things  she  needs 
piled  in  the  middle  of  the  front  room  floor  and  you 
be  in  there  with  the  door  shut  when  she  got  there 
—  [edging  forward  on  her  chair] — clothes  and 
groceries  an'  I  dunno  but  some  toys — 


THE  NEIGHBOURS  35 

MIS'    ABEL 

Be  an  awful  job,  managin'.  How'd  we  let 
ourselves  into  the  house1? 

MIS'  TROT 

[Really  kindling. .]  Easiest  thing  in  the  world. 
I  could  go  in  an'  set  with  her  awhile  before  she 
starts  for  the  7 158.  I  could  take  her  in  a  cup  o* 
jell,  or  somethin'.  And  then  I  could  tell  her  I'd 
set  there  on  the  porch  so's  to  have  a  look  at  him 
when  she  got  back. 

MIS'  ABEL 

And  then  you  could  let  us  all  in.  That's  the 
ticket!  My  land,  look  at  me  near  settin'  on  my 
spare  room  pillow  sham. 

MIS'  TROT 

[Laying  down  last  lamp  chimney  and  going  to 
the  door  to  shake  the  cloth.  Speaks  over  shoul 
der,  shaking  cloth.]  Well,  you  do  that  and  you 
can  count  on  me  to  be  over  there  when  you  come. 
You  won't  have  much  trouble  gettin'  the  stuff. 
[Giving  the  cloth  to  INEZ  and  turning  toward  the 
door.]  I've  got  to  get  back  to  that  buffalo  bug 
now,  or  it'll  be  layin'  eggs  in  every  pattern  in  the 
carpet. 


36  WISCONSIN  PLAYS 

[INEZ  carries  lamps  to  their  high  shelf,  puts 
away  cloths. 

MIS'    ABEL 

,You  come  back  here. 

MIS'  TROT 
[Looks  at  her  in  sur prise. \     But — 

MIS'    ABEL 

You  can't  be  going  home,  not  with  all  there'll 
be  to  see  to. 

MIS'  TROT 
I  just  can't  do  it.     That  buffalo  bug — 

MIS'    ABEL 

You  forget  that  buffalo  bug,  Mis'  Trot,  an* 
tell  us  what  to  have  for  refreshments.  Strawber 
ries?  Or  a  little  canned  fruit  and  loaf -cake? 

MIS'  TROT 

^Returning .]  Why,  of  course  we've  got  to 
feed  'em.  I  never  thought  o'  that.  Canned  fruit. 
I'd  just  as  soon  anybody'd  set  me  down  to  oat 
meal  as  canned  fruit — when  it's  a  party.  Straw 
berries — well.  .  .  .  No,  for  the  land's  sakes,  if 
we're  going  to  do  it,  let's  us  do  it.  Let's  us  have 
ice-cream  or  nothin'. 


THE  NEIGHBOURS  37 

MIS'    MORAN 

Be  nice  for  the  little  boy,  too. 

MIS'  ABEL 
But,  my  land,  it  costs  so  to  buy  it — 

MIS'  TROT 

Buy  it?  Who  said  anything  about  buying  it? 
I'll  freeze  it.  I  can  make  it  cheaper'n  anybody  in 
this  town. 

MIS'  ABEL 

Well,  of  course  you  can.  That's  what  we'll 
do.  You  freeze  it. 

MIS'  TROT 

[Excitedly.]  I  can  make  it  for  fourteen  cents 
a  quart  and  freeze  it  myself,  puttin5  in  our  own 
cow  and  chickens.  Yes,  I'll  do  it — buffalo  bug 
or  no  buffalo  bug.  A  gallon' 11  be  enough.  We 
can  all  chip  in — 

[Stamping  up  on  the  porch  comes  EZRA 
WILLIAMS.  He  is  still  more  exasperated, 
and  he  comes  in  without  greeting  and  with 
his  hat  on  his  head. 

EZRA 

Well,  I  been  to  both  you  folks's  houses,  huntin' 
you  up.  An'  I  been  down  town  lookin'  for  the 


142301 


38  WISCONSIN  PLAYS 

men.  Which  one  o'  you  ordered  wood?  Who 
ever  it  was  can  send  your  men  folks  straight  out 
here  and  unpile  it  from  in  front  of  my  door,  a 
stick  at  a  time. 

MIS'  ABEL 
I've  told  him  we  didn't  order  no  wood. 

MIS'  MORAN 

Well,  we  didn't.  We  been  cuttin'  wood  from 
the  wood  lot  for  years. 

MIS'  TROT 

We  don't  burn  none.  We  burn  soft  coal — 
.what  we  have  left  over  after  we've  sprinkled  the 
house  with  it  thorough,  an*  our  clothes  an*  our 
hands  an'  our  necks. 

EZRA 

[Stands  puzzled  but  still  warlike.}  Well,  it's 
somebody's  fool  wood.  It  must  belong  some- 
wheres  in  the  block.  Just  ask  your  men  folks 
when  they  come  home  this  noon.  I  bet  you  one 
of  'em — 

MIS'  ABEL 

Let's  tell  him.  Wait  a  minute,  Ezra.  We 
want — 


THE  NEIGHBOURS  39 

EZRA 

I  can't  wait.  I've  got  my  hands  so  full  they 
sag. 

INEZ 

Oh,  Mr.  Williams!  I  know  whose  wood  that 
is.  It  must  be  Mis'  Ellsworth's.  I  heard  her 
wonderin'  this  morning  why  it  hadn't  come. 

EZRA 

Well,  of  all  the  snide  swindles!  I've  got  too 
much  to  do  to  unpile  no  cord  of  wood  for  no 
woman,  widow  or  worse.  .  .  . 

[He  is  at  the  threshold  when  Mis'  ABEL 
stops  him. 

MIS'  ABEL 

[Clapping  her  hands  and  following  him.] 
Ezra !  Ezra  Williams.  Stop  goin'  on  and  listen 
hard.  Carry  Ellsworth's  sister's  boy  is  comin'  on 
to  her  to-night  to  support. 

EZRA 

[At  the  door.]  Support?  Well,  I  can't  help 
that.  I'm  doin'  some  supportin'  myself — work 
ing  my  wings  off  at  it.  And  when  it  comes  to  an 
extry  job  for  nothin'.  .  .  . 


40  WISCONSIN  PLAYS 

MIS'    ABEL 

Yes,  but  Carry  Ellsworth  ain't  you.  Here's  a 
boy  plumpin'  down  on  her  to  feed  and  clothe  and 
lug  up  to  man's  estate. 

EZRA 

Well,  ain't  that  just  like  a  woman!  Always 
gettin'  herself  come  down  onto  by  a  lot  o'  dis 
tant  relatives  to  support. 

MIS'  ABEL 

Well,  it  is  goin'  to  make  trouble  for  everybody, 
but  we  thought  we'd  ought  to — 

MIS'  MORAN 

We  thought  it'd  be  real  nice  to  do  for  her 
friendly,  at  a  party — 

MIS'  TROT 

And  have  'em  have  refreshments — ice-cream 
and  cake.  And  have  everybody  bring  things. 

MIS'    ABEL 

Wait  till  I  tell  him.  And  all  be  there  when 
she  gets  back  from  the  depot — all  waiting,  in  her 
house,  to  s'prise  her.  Couldn't  you  get  hold  of 
some  men  and  see  what  they  could  get  together? 
Us  ladies' 11  see  to  some  clothes  but — 


THE  NEIGHBOURS  41 

MIS'    MORAN 

You  scrape  up  some  money,  Ezra.  Or  some 
groceries — canned  stuff,  or  like  that — 

MIS'  TROT 

And  have  'em  all  sent  to  one  place,  hadn't  we 
better? 

MIS'    ABEL 

Have  'em  all  sent  here.  Then  some  of  the  men 
can  come  and  tote  'em  over  when  we  see  her  go 
off  to  meet  the  7 :58. 

EZRA 

[Who  has  stood  shaking  his  head,  edging 
away.]  Yah — pa' eel  o'  women.  Ain't  that  just 
like  'em*?  Do  you  think  I  ain't  got  anything  else 
to  do?  Ain't  enough  o'  you  women  to  tend  to 
the  society  end  of  this  town  and  its  relations? 
No — don't  you  expect  no  time  out  of  me.  I 
might  send  over  some  little  thing — but  I  ain't  a 
minute  to  spare  to-day,  I  tell  you. 

[He  is  out  the  door  with  the  last  words. 

GRANDMA 

{Who  has  been  looking  up  at  him  with  fixed 
attention.}  Well,  now,  would  you  think  any- 


42  WISCONSIN  PLAYS 

body   would   be   that  much   interested   in   cord 
wood"? 

MIS'    ABEL 

No,  sir,  you  wouldn't. 

MIS'    MORAN 

Well,  ain't  that  just  awful  for  him  not  to  do 
one  thing? 

MIS'  TROT 

Him  with  nothin'  but  cord  wood  on  his  hands, 
mind  you — and  me  with  a  buffalo  bug ! 

MIS'    ABEL 

As  near  as  I  can  see  we've  got  to  put  this  thing 
through  ourselves.  You  take  up-street,  Mis' 
Trot,  and  Mis'  Moran,  you  take  down-street — 
and  I'll  take  the  business  part.  Everybody's  al 
ways  after  them,  so  I  think  you  really  squirm  more 
askin'  though  you  do  get  it  so  easy.  Inez,  you 
might  be  lookin'  up  some  of  your  old  picture  books 
for  the  boy,  or  somethin'  to  amuse  him.  Come 
on,  ladies.  . 

MIS*    TROT,    MIS'    ABEL,    MIS5    MORAN 

[All  talking  together  as  they  go  out,  Mis' 
MORAN  having  forgotten  her  limp.]  Who'll  I 
get  to  bake  the  cakes'?  Well,  I'd  get  some  good 


THE  NEIGHBOURS  43 

cake  makers,  for  mercy's  sakes,  and  there's  only 
about  six  in  town.  I  know  where  I'm  going  for 
a  cake.  I'm  goin'  straight  for  Mis'  Ezra  Wil 
liams. 

[Exeunt  all  three. 

INEZ 
I'll  iron  off  a  flat  piece  or  two  first. 

[She  goes  to  the  shed  to  change  the  iron. 

GRANDMA 

[Peering  out  of  the  windows,  through  the 
plants.]  Dum  'em.  They've  gone  off  to  do 
things.  And  I'm  so  old,  so  fool  old.  [She 
smites  her  hands  together.]  Oh,  God.  Can't 
you  make  us  hurry1?  Can't  you  make  us  hurry"? 
Get  us  to  the  time  when  we  won't  have  to  dry  up 
like  a  pippin  before  we're  ready  to  be  took  off*? 
Our  heads  an'  our  hearts  an'  our  legs  an'  our 
backs — oh,  make  'em  last  busy,  busy,  right  up  to 
the  time  the  hearse  backs  up  to  the  door ! 

INEZ 

[Returns,  picks  up  a  piece  from  the  basket, 
looks  over  at  her.]  What's  the  matter, 
Grandma*? 


44  WISCONSIN  PLAYS 

GRANDMA 

Eh,  nothin'.  Only,  I'm  folks.  That's  all.  I 
mean  I  was  folks — me  that  was  folks  and  now 
ain't. 

[INEZ  looks  at  her,  puzzled,  and  stands  rub 
bing  the  iron  on  a  newspaper  when  PETER 
re-appears  in  the  doorway,  the  sugar  un 
der  his  arm,  and  in  his  hand  a  paper. 

PETER 

Mis'  Abel !  I  forgot  to  ask  you  just  what 
things  you  need  for  that  little  boy —  Oh,  you 
here,  Inez*?  I  thought  you  was  out.  I  thought — 
Here's  your  mother's  sugar. 

INEZ 

[Cooling  her  iron  and  not  looking  at  him.~\ 
I'm  sorry  Mother  isn't  in.  She'll  be  back  in  a 
few  minutes.  Won't  you  come  back  then ? 

PETER 

Inez !     I've  got  lots  of  conversation  in  me. 
[INEZ  searches  his  face  swiftly.  ,  Goes  on 
with  ironing. 

PETER 

[With  determination.']  I  mean  I  don't  say 
half  the  things  I  could  say. 


THE  NEIGHBOURS  45 

INEZ 

[  With  a  moment  of  understanding  and  sympa 
thy,  she  leans  on  the  board  and  looks  at  him.} 
What  about,  Peter  $ 

PETER 

About — about — oh,  things.  I  think  of  so  many 
things,  Inez,  when  I'm  alone,  that  I'd  like  to  tell 
you. 

INEZ 

[Still  the  same.}  Why  don't  you  tell  me, 
Peter1?  What  are  they  about? 

PETER 

Well,  woods  things,  and  about  water  rats — and 
gophers — and — and — birds'  nests ! 

INEZ 

[Still  understanding,  still  patient. ,]  Well,  I 
like  these  things,  too,  you  know,  Peter.  Tell  me 
some  now. 

PETER 

[Looking  wild.]  Well.  .  .  .  Birds'  nests. 
They's — they's  quite  a  few  birds'  nests  in  the 
trees  this  spring 


46  WISCONSIN  PLAYS 

INEZ 

[Bursts  into  sudden  uncontrollable  laughter.] 
In  the  trees !  Oh,  come  now,  Peter !  Not  birds' 
nests  in  the  trees!  Oh.  .  .  .  Peter!  You 
mustn't  tell  me  things  like  that! 

PETER 

[Struggling  desperately.]  Well,  orioles  now. 
Orioles.  ...  I  saw  an  oriole  by  Thatcher's  barn. 
It's  note  was  all  wavy — 

INEZ 

[Grave  again]  I  know  it.  I've  heard  'em. 
I  love  'em. 

PETER 

And  I  thought — what  was  it  I  thought  when  I 
heard  him  call.  .  .  . 

INEZ 
What  .  .  .  Peter? 

[Sets  down  her  iron  and,  an  elbow  in  her 
]hand,  the  other  hand  over  her  mouth,  she 
watches  him  quizzically  and  somewhat 
wistfully. 

PETER 

[Simply.]  It  was  something  I  liked  to  think. 
And  I  know  I  thought  how  you'd  like  it  too. 


THE  NEIGHBOURS  47 

Most  folks  don't  hear  'em  call.  Lots  of  folks 
^on't  hear  lots  of  things.  But  you  do.  And  I 
do.  Ain't  that  kind  of  nice — like  them  things 
was  for  you  and  me.  .  .  .  [He  catches  at  a  cor 
ner  of  her  apron,  lifts  it,  and  drops  it,  discon 
certed. \  Mebbe  you  dunno  what  I  mean. 

INEZ 

Oh,  Peter,  Peter,  Peter!  [Laughs  with  her 
eyes  shut.]  Oh,  Peter! 

PETER 

[Turns  away,  looks  up  in  another  part  of  the 
room.]  I  know  it.  I  don't  know  why  it  is  I 
can't  talk  to  you,  Inez.  I  think  of  things  I  want 
to  say  to  you,  but  when  I'm  with  you  I  don't  seem 
able  to  think  'em  over  again.  There's  history, 
now.  I  was  readin'  some  history  last  night. 
There  was  so  many  things  I  wanted  to  tell  you  in 
it.  I — I  know  you'd  of  thought  so,  too ! 

INEZ 

Really.  You  think  I  would.  Well,  then, 
here  I  am.  Try  me! 

PETER 

I  can't.  I  didn't  plan  it  out  this  way — and 
you  laughing. 


48  WISCONSIN  PLAYS 

INEZ 

Oh,  tell  me — do.  Was  it  about  robbers — and 
princesses — and  castles,  Peter*?  Was  it  about 
knights  and  swords  and  roses — 

PETER 

Oh,  it  was  better  things.  One  was  about  Peter 
the  Great,  you  know.  Him.  He  was  a — my,  he 
was  just  a  dandy! 

INEZ 

[Now  really  at  the  end  of  her  patience.]  Was 
that  what  you  wished  to  tell  me"? 

PETER 
[Miserably.}     No.     But — 

INEZ 

Because  if  it  was,  I'm  not  in  the  least  interested 
in  Peter  the  Great!  Not-in-the-least !  [She 
marches  across  the  floor  to  the  shed  door  to  renew 
her  iron,  and  on  the  threshold  she  turns,  overcome 
again  by  the  sorry  figure  he  has  cut.]  Peter,  oh, 
Peter.  .  .  . 

[Laughs  with  her  eyes  shut,  and  goes  into  the 
shed.  PETER  sits  where  she  has  left  him, 
and  drops  his  head  in  his  hands. 


THE  NEIGHBOURS  49 

GRANDMA 

[Suddenly  wheels  in  her  chair. ~\  Young  man! 
[PETER  lifts  his  head.]  Do  you  call  that 
courtin'?  [PETER  makes  a  helpless  gesture.} 
Because  if  I  couldn't  court  no  better  than  that  I'd 
go  and  batch  it  and  be  done  with  it.  You  court 
like  a  stick  of  wood. 

PETER 
[  With  a  hopeless  gesture. .]     What'll  I  do? 

GRANDMA 

Do?  Do  what  most  everybody  in  the  world 
has  to  do  before  they  can  fit  their  skins  and  skulls. 
Quit  thinkin'  about  yourself.  Dunce! 

PETER 

Well,  but  I— I— 

[INEZ  comes  back  with  the  iron.     GRANDMA 
subsides.     PETER  rises  miserably. 

PETER 

I  guess  I'll  have  to  be  going. 

INEZ 

Oh,  must  you?     Well,  good-bye,  Peter. 


50  WISCONSIN  PLAYS 

PETER 

I  s'pose  it's  all  done  there  is  to  do  about  the 
little  chap — the  one  that's  coming? 

INEZ 

Why,  of  course  it  isn't.  Who  did  you  think 
did  it  all? 

PETER 

Do — do  you  think  I  could  be  any  use  to  'em? 
[INEZ  amazes  him  by  dropping  her  flat-iron 
with  a  clatter  on  the  ironing-stand  and 
bursting  into  sobs. 

PETER 

Inez!     What  is  it? 

[He  leaps  to  her,  for  the  first  time  uncon 
scious  of  himself,  and  puts  his  arms  about 
her.  For  just  a  moment  she  leans  to  him^ 
then  springs  free  and  speaks  angrily. 

INEZ 

It's  nothing.  It's  nothing,  I  tell  you.  Go 
'way,  Peter.  Please  go  'way. 

PETER 

[Sfands  still  for  a  moment,  then  flings  up  his 
head  and  speaks  in  wonder.}  Inez!  Inez!  Do 
you  care  because  I'm  a  fool? 


THE  NEIGHBOURS  51 

INEZ 

Go  'way,  Peter.     Please  go  'way. 

PETER 

Well,  I  will  go — now.  But  by  the  great  horn 
spoon,  Inez,  I'll  come  back! 

[He  rushes  out.  INEZ  runs  to  GRANDMA, 
sinks  beside  her,  buries  her  face  in  her 
gown. 

INEZ 

Grandma,  grandma.  Why  can't  he  be  like 
other  folks?  Why  can't  he  be  like  other  folks'? 

GRANDMA 

[With  great  tenderness.}  Hush  .  .  .  dearie. 
Hardly  anybody  ever  is.  Hardly  anybody  is. 

[Moment's  pause. 

[The  door  opens,  and  Mis'  ABEL  enters  side- 
wise,  her  arms  piled  with  old  clothes. 
She  is  calling  to  somebody  over  her  shoul 
der. 

MIS'    ABEL 

Well,  supposin'  they  are  too  big?  Send  'em 
along — send  'em  along.  I've  cut  over  more  of 
'em  than  I  ever  made  new  ones.  [Closes  the 
door  behind  her  by  pushing  against  it.\  My  land, 


52  WISCONSIN  PLAYS 

that's  been  a  tug.  Folks  has  kept  a-givin'  me 
things  an'  I've  kep'  sayin'  I'd  take  'em  right 
along.  [Dropping  things  on  the  floor  and  keep 
ing  them  together.}  I  know  'em.  If  folks  had 
waited  to  send  the  stuff  by  somebody  they'd  'a' 
took  to  lookin'  it  over  again  an'  got  to  snippin' 
off  the  buttons  and  mebbe  decide  they  was  too 
good  to  give  away  at  all.  You  needn't  tell  me. 
Folks  is  folks. 

GRANDMA 

[Patting  INEZ'S  arms — INEZ  has  risen,  and 
stands  surreptitiously  drying  her  eyes.]  That's 
it — that's  it.  Folks  is  folks,  no  matter  how  dif 
ferent — or  similar.  They  can't  fool  us.  Folks 
is  folks. 

INEZ 

[  Turns  and  sees  the  garments  which  her  mother 
is  vaguely  sorting.}  Oh,  mother,  how  fine. 
Isn't  that  a  pile  ?  How  fine ! 

[Examines  the  garments  and  after  a  moment 
goes  to  the  shed  with  her  flatiron. 

MIS'  ABEL 

They's  everything  here.  Enough  to  clothe 
Carry  Ellsworth's  nephew  till  he's  black  in  the 
face.  [Enter  Mis'  TROT,  breathless. 


THE  NEIGHBOURS  53 

MIS'    TROT 

I've  solicited  the  rest  of  the  stuff  for  the  ice 
cream  and  I've  got  four  cakes  promised.  [Seeing 
the  things  on  the  floor.}  What  a  lot  of  splendid 
truck ! 

MIS'    ABEL 

Well,  I'm  most  dead  luggin'  it. 

[She  is  stooping,  turning  over  the  things. 

MIS'    TROT 

[Looking  toward  the  door.}  And  ain't  the  air 
nice  in  the  forenoon1?  It  seems  like  breathin' 
somethin'  else.  Comin'  along  by  the  wood  yard, 
somethin' — I  dunno  whether  it  was  the  smell  of 
the  cedar  shingles  or  the  way  the  fence  looked  so 
nice  and  shady — but — [little  laugh} — I  ain't 
never  felt  so  much  like  when  I  was  a  girl  since 
I  was  born  one.  If  it  hadn't  been  for  the 
thoughts  of  that  buffalo  bug  in  the  house,  I  de 
clare  I  would  most  of  enjoyed  myself. 

MIS'  ABEL 

[In  falsetto.}  Did  you?  Why,  I  was  just 
thinkin'  that  out  in  Main  Street — that  it  seemed 
somethin'  like  quite  a  while  ago.  I  thought  it 
was  the  smell  of  the  sage  where  somebody  was 
fryin'  pork,  but  mebbe  it  wasn't. 


54  WISCONSIN  PLAYS 

[Enter  Mis'  MORAN.     She  is  walking  nearly 
erect  and  is  hurrying  somewhat. 

MIS'   MORAN 

It's  all  right.  I  just  see  Carry  Ellsworth  goin' 
into  the  post  office,  and  I  turned  in  on  purpose. 
I  told  her  somebody' d  come  over  to-night  and  set 
while  she  went  to  the  station,  and  be  there  when 
she  comes  back.  She  seemed  to  like  the  idee.  Is 
this  stuff  all  here? 

MIS'  ABEL 

Yes,  and  more  to  come.  Don't  you  think  we'd 
best  all  be  setting  in  there  in  the  dark  when  she 
gets  there  with  him,  and  all  of  us  yell  "Shower," 
shan't  we*?  Just  like  they  do? 

MIS'  TROT 

[Down  on  the  floor  beside  the  things.}  Poor 
little  soul — it's  him  I'm  a-thinkin'  of.  His 
mother  dead  and  his  home  broke  up  and  him 
dragged  away  from  what  folks  he  knows.  Look 
here!  Well,  of  course  we're  glad  to  have  any  of 
these  things.  [Holds  up  a  very  ragged  garment.} 
How's  this  for  a  contribution?  Nobody  could 
patch  that  without  they  had  a  piece  of  cloth  the 
size  of  the  American  flag — and  not  a  button  on  it. 


THE  NEIGHBOURS  55 

I'll  bet  you  Mis'  Hemenway  give  this — didn't  she 
now"? 

MIS'  ABEL 

[Looking  closely. .]  Yes,  sir,  she  did.  If 
you'd  packed  as  many  missionary  barrels  as  I  have 
you'd  'a'  known  it  was  Mis'  Hemenway' s  without 
lookin'.  Mis'  Hemenway  is  a  splendid  cake- 
maker,  but  she  is  near-sighted  about  gifts  she 
gives  the  poor. 

MIS'  TROT 

[Goes  on  sorting. .]  I  got  to  thinkin',  supposin' 
it  had  been  my  Jeddie,  if  I'd  been  took,  and  him 
trapsed  off  to  a  strange  state,  and  all.  Ain't  it 
real  pitiful — well,  now,  would  you  think  any- 
body'd  give  away  a  thing  as  good  as  that  is? 

[She  holds  up  a  garment,  and  Mis'  MORAN, 
who  has  been  shaking  her  head  over  the 
other  one,  takes  it  from  her. 

MIS'  MORAN 

No,  I  would  not.  Why,  it  looks  like  new 
from  the  store.  They  ain't  a  thread  broke  in  it. 
And  the  buttons  on.  Who  give  this,  Mis'  Abel? 

MIS'  ABEL 

[  Who  is  filing  life  some  things  from  the  lot  on 
the  table.}  I  was  wondering  what  he'd  be  like? 


56  WISCONSIN  PLAYS 

Nice  little  thing,  I  guess  maybe — Carry's  so  nice. 
.  .  .  [Looks  at  the  garment, .]  Oh,  that's  Mis' 
Fitch — couldn't  you  tell1?  Her  that  always 
sends  a  thirteen-egg  angels'  food  to  the  church 
suppers  when  a  loaf  o'  pound  cake  would  go  down 
just  as  easy. 

MIS'  TROT 

And  her  husband  on  thirty  dollars  a  month. 
My  good  land,  ain't  folks  the  funniest  things'? 
[They  all  shake  heads  and  compress  lips^  and 
Mis'  TROT  goes  "T-t-t-t-t." 

GRANDMA 

Ah — ain't  you  got  used  to  that  about  folks  yet, 
Mis'  Trot*?  I  want  to  know — I  want  to  know. 
It  don't  hurt  folks  none  to  be  funny,  does  it? 

INEZ 

[Who  is  entering  from  the  shed.]  Grandma, 
look.  Here  was  one  of  your  balls  of  carpet 
rags  rolled  way  out  there.  Would  you  think  it 
could? 

GRANDMA 

[Peering  at  it.}  That's  the  very  one  I  been 
lookin'  for.  I  want  it  for  the  head. 


THE  NEIGHBOURS  57 

INEZ 

The  head  of  what.  Grandma? 

GRANDMA 

Never  you  mind.  I  got  my  own  occupations. 
You  ain't  the  only  busy  folks  in  the  world,  if  you 
do  act  so  cocky  about  it.  I  need  something  to  do 
for  as  well  as  you. 

INEZ 

[Who  has  been  looking  out  the  window.] 
Mother,  Mis'  Ellsworth  is  coming. 

MIS'  ABEL 
Mis'  Ellsworth! 

[The  women  scurry  around  but  they  are  too 
late.  Mis'  ELLSWORTH  enters.  She  is  a 
slight,  pretty  woman  in  a  light  blue  ging 
ham  gown  and  wide  straw  hat.  She  is 
much  agitated,  and  sinks  in  a  chair  by  the 
door.  She  has  a  letter  and  a  little  parcel 
in  her  hand. 

MIS'  ABEL 

[  With  the  other  two  women,  trying  to  hide  the 
piles  of  garments. \  Why,  Carry  Ellsworth! 
You  did  give  me  a  start.  I'm — we've — we're — • 
don't  this  look  like  carpet  rags,  though? 


58  WISCONSIN  PLAYS 

MIS'    ELLSWORTH 

[Hardly  hears.]  Oh,  ladies.  I've  just  got  a 
letter — I've  had  another  letter.  'Seems  my  little 
boy  ain't  comin'  at  all. 

ALL   [save  GRANDMA] 
Not  comin'? 

MIS'    ELLSWORTH 

[Slowly.]  No.  A  sister  of  his  pa's  decided 
last  minute  she'd  take  him  in.  She's  got  five  of 
her  own,  but  she  writes  she  dunno's  one  more'll 
make  any  difference. 

MIS'  ABEL 

[Sitting  limply  back  in  the  clothes.']  Well, 
ain't  that  just  the  end  of  everything! 

MIS'  MORAN 

Well,  Carry — you  can't  help  it,  but  be  glad  the 
little  fellow  ain't  had  all  the  way  to  come  alone. 

MIS'  TROT 

An'  I  ain't  a  doubt  in  the  world  he's  got  a  bet 
ter  home  than  you  could  give  him — anybody  that 
can  afford  to  have  five  children  is  rich  enough  to 
have  six. 


THE  NEIGHBOURS  59 

MIS'    ABEL 

And  it  was  going  to  be  awful  hard  on  you  to 
have  him  to  do  for. 

MIS'    ELLSWORTH 

I  know,  I  know.  But  it's  goin'  to  be  awful 
hard  for  me  not  to  have  him  to  do  for.  Last 
night — when  I  begun  to  plan — it  come  over  me 
like  it  never  done  before  what  I'd  missed  in  not 
bein'  left  with  one.  I  was  goin'  to  make  him  a 
bed  on  the  lounge — I'd  got  it  planned  what  clothes 
I  could  spare  for  the  bed,  and  what  I  could  make 
more  of.  I  never  got  meals  for  a  child — and  I'd 
begun  thinkin'  what  he  could  eat  and  what  little 
things  I  could  fix  up  for  him.  I  was  plannin'  to 
keep  chickens  and  to  fix  a  sandpile  in  the  backyard 
and  a  swing  under  the  maple  out  in  front — and  I 
was  thinkin'  about  his  school  and  who'd  be  his 
teacher  and  what  desk  he'd  have.  I  just  see  this 
little  cap  in  the  post-office  store  and  I  bought  it 
for  him.  [  Unwraps  a  cap  from  a  little  package.  ] 
I  thought  the  feather' d  look  kind  o'  cute,  stickin' 
up  in  front.  And  now  here  comes  this — and  it's 
all  for  nothin' — it's  all  for  nothin'. 


60  WISCONSIN  PLAYS 

MIS*    ABEL 

But,  Mis'  Ellsworth,  it  would  be  hard  for  you. 
It  would  now ! 

MIS'    ELLSWORTH 

I'd  like  that  kind  o'  hard. 

MIS'  TROT 
And  s'pose  you'd  of  took  down  sick? 

MIS'    ELLSWORTH 

Better  body  sick  than  heart  sick. 

MIS'    MORAN 

And  s'pose  you'd  of  died,  Mis'  Ellsworth? 

MIS'    ELLSWORTH 

I'd  of  lived  first  now,  anyway.  And  now  I 
ain't.  I  never  knew  it — but  I  ain't. 

MIS'  ABEL 

Oh,  but  Mis'  Ellsworth.  You've  got  your 
health  and  your  gettin'  along  economical  to 
brood  over  as  it  is. 

MIS*    ELLSWORTH 

This  would  of  kept  me  from  broodin'. 

[INEZ  goes  softly,  and  mutely  slips  her  arm 
about  Mis'  ELLSWORTH. 


THE  NEIGHBOURS  61 

MIS'    ABEL 

[Openly  breaks  down  and  wipes  her  eyes  on 
the  garment  she  is  holding. ]  Oh,  ladies! 
What's  the  use*?  We  all  know.  I  ain't  had  but 
one,  but  I  know. 

MIS'  TROT 

Yes.  I've  got  seven  an'  sometimes  I'm  drove 
most  to  death  with  'em — but  I  know. 

MIS'    MORAN 

Well,  I  never  had  none — but  I  know. 

GRANDMA 

Eh,  mine's  dead — all  dead.     But  I  know. 

INEZ 

Oh,  Mis'  Ellsworth.     An'  I  know,  too. 

[In  a  moment  at  the  door  appears  PETER, 
his  arms  ludicrously  full  of  clothes  and 
parcels. 

PETER 

Look,  Inez,  look-a-here.  See  all  I  got  a  holt 
of — for  the  little  chap. 

[He  sees  their  mood  and  pauses,  crestfallen. 


62  WISCONSIN  PLAYS 

INEZ 

[Goes  to  him  swiftly. \  Peter!  What  a  lot 
you  got.  Dear  Peter. 

[The  door  is  pushed  open  by  EZRA  WIL 
LIAMS.  He  has  a  small,  closely  wrapped 
bundle  under  an  arm,  and  he  is  carrying  a 
little  chair. 

EZRA 

[Handing  bundle  to  Mis'  ABEL.]  There's  a 
few  little  things  my  wife  just  sent  over.  This 
here  little  chair — I  made  it  myself  for  our  little 
boy  before  he  was  hardly  out  o'  long  dresses.  I 
done  the  whole  thing — pegged  it  myself,  so's  he 
could  throw  it  around  and  it  wouldn't  get  broke. 
He — he  never  grew  up  enough  to  use  it  ...  it's 
been  settin'  around  my  workroom — kind  of  in  the 
way.  It  ought  to  be  doin'  somebody  some  good- 

MIS'  ABEL 
That's  certainly  good  of  you,  Ezra. 

EZRA 

Say,  you'd  ought  to  see  Mis'  Ellsworth's  wood, 
piled  by  her  back  door  neat  as  a  kitten's  foot. 
She  ain't  to  home —  [Sees  for  the  first  time  that 
Mis'  ELLSWORTH  is  there,  over  near  GRANDMA.] 
Good  souls!  Have  I  let  the  cat  out  of  the  bag? 


THE  NEIGHBOURS  63 

MIS'    ABEL 

No,  Ezra — no,  no.  I  was  tryin'  to  tell  you. 
He  ain't  comin'.  The  little  boy  ain't  comin'  after 
all. 

EZRA 

He  ain't  comin'  *? 

MIS'    ELLSWORTH 

[Coming  forward. ~\  No,  Ezra.  They  ain'l 
goin'  to  give  him  to  me.  Somebody  else  has  took 
him. 

EZRA 

Well,  ain't  that  a  shame.  [Bristling.] 
Who's  got  him  ?  Want  I  should  get  him  for  you  *? 

MIS'    ELLSWORTH 

[Shaking  her  head.]  No — you  can't,  Ezra. 
But  you  don't  know — you'll  never  know  how  I 
feel  about  what  you've  done  a'ready — you  and 
the  ladies  and  Peter  and  Grandma.  .  .  .  Would 
— you  mind  if  we  looked  at  the  little  clothes'? 

EZRA 

No — why,  look  at  'em.  They  ain't  much,  I 
guess,  for  now-a-days.  But  his  ma  says  she'd  like 
you  to  have  'em.  They  was  real  good  cloth  in 
the  beginnin'. 


64  WISCONSIN  PLAYS 

MIS'    ELLSWORTH 

[Fingering  the  garments,  turns  quickly  to  the 
•women.}  Ain't  that  what  it  is  to  have  neigh 
bours?  Ain't  it,  though?  Look  at  the  bother 
you've  been  to.  ...  An'  now  I  won't  need  'em. 

MIS'  ABEL 

Don't  you  think  a  thing  about  us.  We  was 
glad  to  do  it.  I  was  feelin'  cross  as  a  wolf  with 
all  I  had  to  do  when  Inez  come  in  with  the  news. 
[She  is  taking  off  her  hat  as  she  speaks.}  And 
now  I  feel — I  feel  like  folks.  An'  Mis'  Moran's 
leg  and  her  back  and  Mis'  Trot's  buffalo  bug — I 
guess  they  feel  just  the  same  about  it. 

GRANDMA 

And  me.  So  do  I.  I  was  just  hatin'  the  sight 
o*  my  carpet  rags.  But  look  at  what  I  stodged 
up  for  the  little  chap. 

[She  holds  up  an  absurd  black  doll  with  a 
white  head. 

MIS'    ELLSWORTH 

Oh,  Grandma! 

GRANDMA 

Don't  you  thank  me.  I  liked  doin'  it.  It  was 
somethin'  for  somebody.  It  was  real  human  to 
do. 


THE  NEIGHBOURS  65 

MIS'    ABEL 

Well,  we  might  as  well  pick  'em  up. 

INEZ 

[Turning  to  PETER,  who  stands  apart.}  Peter, 
how  dear  of  you  to  get  all  these  things  for 
him. 

[Mis'  ABEL  unwraps  them,  and  they  draw 
about  her  to  look,  all  save  PETER,  who  is 
standing  a  little  apart,  INEZ  turns  to 
him. 

PETER 

I  didn't  get  'em  all  for  him.  I  got  'em  part 
for  you. 

INEZ 

Well — it  was  dear  of  you  anyway.  What — 
what's  that  in  your  pocket,  Peter? 

PETER 

[Brings  shyly  from  his  pocket  a  little  clown  on 
a  stick.}  I  saw  it  in  the  store.  I  didn't  know 
but  what  he  might  like  it.  If  he  ain't  a-comin* 
we  might  as  well  throw  it  away. 

INEZ 

No !     Give  it  to  me. 


66  WISCONSIN  PLAYS 

PETER 

[Still  holding  toy  and  looking  down  at  it.] 
Why,  it's  nothin'  but  a  clown.  Like  me,  I 
guess.  .  .  . 

INEZ 

Well,  I  want  it  all  the  same.  .  .  .  Oh,  Peter, 
Peter,  what  a  dear  you  are  when  you  forget  your 
self! 

[He  looks  at  her  breathlessly,  then  suddenly 
takes  her  in  his  arms  .  .  .  and  as  he  does 
so,  tosses  the  clown-on-a-stick  into  the  lit 
tle  vacant  chair. 

PETER 

Inez — Inez!     Do  you  mean  that?     Oh,  Inez, 
I  tell  you  I'm  forgettin'  now.     I'll  never  remem 
ber  any  more.  [He  kisses  her. 
[As  they  stand  so,  Mis'  ABEL  turns  and  sees 
them.     The     others     follow     her     look. 
GRANDMA,  too,  and  they  all  turn  and  look 
at  each  other,  silent  and  smiling.     And 
then  GRANDMA  rises,  and  comes  slowly 
down   to    them — bent  and  peering   and 
kindly,  and  holding  by  one  arm  the  doll 
she  has  made.     As  she  passes  the  little 
vacant  chair,  near  which  INEZ  and  PETER 


THE  NEIGHBOURS  67 

stand,  she  drops  the  doll  over  the  chair's 
back  in  order  to  take  their  hands.  She 
stands  between  and  a  little  back  of  them, 
facing  the  audience.  She  looks  up  at 
them  and  tries  to  speak  to  each  in  turn, 
and  gives  it  up  with  a  little  helpless  ges 
ture  and  a  smile  and  a  hand  rpatting  the 
shoulder  of  each.  They  are  all  gathered 
near  the  two,  the  little  garments  EZRA 
has  brought  still  in  the  women's  hands  and 
Mis'  ELLSWORTH  still  holding  the  cap 
with  the  feather. 

MIS'    ABEL 

{Wiping  her  eyes  swiftly.]  Strikes  me  the 
little  chap  is  accountable  for  a  whole  heap  he 
never  even  heard  of. 

GRANDMA 

Eh — most  folks  always  is. 


IN  HOSPITAL 

BY  THOMAS  H.  DICKINSON 

And  lo,  the  Hospital,  grey,  quiet,  old, 
Where  Life  and  Death  like  friendly  chaff erers  meet, 

— HENLEY. 


T7      T3      T% 
Hi.   Ho  SJh 


PERSONS  OF  THE  PLAY 

A  WIFE  AN  INTERNE 

A  HUSBAND  A  NURSE 

A  SURGEON 


IN  HOSPITAL 

TIME:     A  bright  morning  in  late  spring, 

SCENE  :  A  large  room  beside  the  operating  rooms 
of  a  hospital.  The  general  tone  of  the  room  is 
white,  but  an  effort  is  manifest  to  make  it  some 
what  cheerful  in  furnishings.  The  matting  is 
a  bright  colour.  The  chairs  and  tables,  though 
simple  and  unadorned,  are  artistic  in  shape. 
There  are  two  doors  in  the  room.  The  one  at 
the  back  leads  from  the  corridor.  The  one  at 
the  right  leads  into  the  operating  rooms.  There 
is  no  door  on  the  left  side  of  the  room.  The 
wall  here  is  solid,  and  is  provided,  as  is  the  left 
side  of  the  back  walls,  with  a  continuous  row  of 
high  windows  neatly  curtained  with  muslin. 
Through  a  broad  aperture  in  the  curtains  the 
sunlight  streams  during  the  scene  in  a  soft,  un 
broken,  and  ever  broadening  ray.  The  general 
effect  should  be  one  of  lightness  and  simplicity^ 
and  formal  cheerfulness. 

Copyright,  1909,  by  Thomas  H.  Dickinson 

75 


y6  WISCONSIN  PLAYS 

At  the  rise  of  the  curtain  a  NURSE,  daintily 
gowned  and  capped  in  hospital  uniform,  stands 
at  the  right  of  the  centre  of  the  room  beside  a 
high  table.  Her  pencil  is  at  her  lips  and  her 
brows  are  puckered.  She  has  been  making 
some  notes  on  a  'pad  of  report  blanks.  Be 
side  her  on  the  table  there  are  towels,  arranged 
in  a  neat  pile,  and  a  few  pieces  of  linen. 

There  enters  at  the  centre  door  an  INTERNE,  a 
young  man  of  smooth  face,  hearty  manners,  and 
a  soft  step.  He  is  dressed  in  immaculate  white 
linen.  The  INTERNE  goes  toward  a  standing 
case  at  the  back  of  the  room,  opens  it  and  takes 
out  some  rolls  of  cotton. 

INTERNE 

Good  morning,  Betty. 

NURSE 

[Sweetly  but  abstractedly. .]  Good  morning. 
[He  'piles  up  his  rolls  of  cotton.  After  a  pause 
she  continues. ~\  Did  I  get  any  towels  last  night"? 

INTERNE 
Eh? 

NURSE 

Nothing.  [She  goes  on  pencilling. 


IN  HOSPITAL  77 

INTERNE 

Well,  I  guess  that's  as  much  as  I  want  for  one 
trip. 

[Gathers  up  his  bundles  and  goes  out  by  the 
right  door.  He  returns  immediately  with 
nothing  in  his  hands,  and  begins  again  to 
collect  the  cotton. 

INTERNE 

Did  you  miss  your  free  hour  yesterday*? 

NURSE 

[With  pencil  to  lips.]     Uh-hu. 

INTERNE 

What's  the  trouble?     Case  serious"? 

NURSE 

Oh,  no.  Doc  thought  I'd  better  not  leave  the 
afternoon  before  the  operation.  .  .  .  What  time 
is  it  this  morning*? 

INTERNE 

Now?     Oh,  about  eight- thirty. 

NURSE 
I  mean  the  operation. 


78  WISCONSIN  PLAYS 

INTERNE 

[Goes  back  to  the  case.]     Nine  o'clock. 

NURSE 

Who  gives  the  anaesthetic? 

INTERNE 

[Taking    out    cans    of    chloroform.]     I    do. 
[After  a  pause.}     Sleep  well,  last  night*? 

NURSE 

She  had  me  up  several  times.  I  thought  she 
was  talking  to  me.  Talking  in  her  sleep. 

[She  continues  to  pencil  while  speaking. 

INTERNE 

Nervous? 

NURSE 

Oh,  she  has  grit. 

INTERNE 

You  can't  tell  how  it  will  hit  them.  Some 
times  the  patient  that  has  the  most  grit  when  he  is 
awake  goes  all  to  pieces  when  he's  asleep. 

NURSE 

Last  night  she  was  saying  something  about 
Fred.  I  didn't  understand  exactly.  I  think  he's 


IN  HOSPITAL  79 

her  son.  Then  once  she  asked  me  to  bring  the 
baby.  I  got  up  and  spoke  to  her  but  she  didn't 
hear  me. 

[She  has  been  stacking  towels. 

INTERNE 

[Still  rummaging  in  the  case.]  Thinking 
about  her  kids.  Well,  that's  natural.  [Hum 
ming.]  And  a  b-a,  ba;  and  a  b-e,  be;  and  a  b-i, 
bi;  bay-be-bi. 

NURSE 

[Sorting  over  her  piles  of  material.]  What  do 
you  think  of  her  chances? 

INTERNE 

Well,  I  dunno!  I'm  glad  it  isn't  you  going 
into  the  operation. 

[He  comes  over  and  leans  on  the  other  side 
of  the  high  table  and  looks  keenly  at  her. 

NURSE 

Now,  don't  be  foolish. 

INTERNE 

Aren't  you  glad  I  ain't*? 

NURSE 
Ain't  what? 


80  WISCONSIN  PLAYS 

INTERNE 

Going  in  there  under  the  knife. 

NURSE 

[Gathering  up  her  bundle. ,]      Of  course  not, 
smarty.     Why  should  I  care?     Ta,  ta. 

[She  swings  her  head  saucily  and  goes  out  by 

the  centre  door. 

[The  INTERNE  returns  to  the  case  at  the  left 
back  of  the  room  and  proceeds  with  his 
work. 

[After  a  pause  the  centre  door  opens  slowly 
and  the  HUSBAND  appears.  He  is  hag 
gard,  his  clothes  have  a  general  air  of 
neglect,  his  eyes  are  tired  for  lack  of  sleep. 
He  carries  his  hat  negligently  crushed  in 
his  hand. 

INTERNE 

[Lfpon  first  seeing  the  HUSBAND.]     Ah,  here 
you  are. 

[ He  speaks  in  a  hearty  but  somewhat  hollow, 
professionally  sympathetic  way. 

HUSBAND 

[Shakes  the  hand  holding  the  hat  as  if  to  shake 
aside  any  more  formal  greetings.     He  speaks  as 


IN  HOSPITAL  81 

if  with  an  effort,  his  voice  is  husky  >  and  the  organs 
do  not  immediately  respond  to  his  command. 
There  is  now  no  demand  that  he  keep  up  appear 
ances.]  How  is  she? 

INTERNE 

Best  reports  this  morning,  glad  to  say. 

HUSBAND 

Have  you  seen  her1? 

INTERNE 

No,  she  isn't  in  my  ward,  but  her  nurse  tells 
me  she  slept  nicely,  very  nicely  indeed. 

HUSBAND 
I  am  glad  of  that.  ...  I  didn't  sleep. 

INTERNE 

Didn't  sleep,  eh4?  Well,  I  don't  know  as  I 
blame  you.  Still  you  owe  it  to  yourself — you 
know — 

HUSBAND 

I  went  to  bed  .  .  .  but  I  couldn't  sleep.  I 
wandered  around  .  .  .  outdoors. 

[He  makes  a  futile  gesture  to  indicate  the 
aimlessness  of  his  wanderings. 


82  WISCONSIN  PLAYS 

INTERNE 

Oh,  of  course,  if  you're  nervous  it's  necessary 
to  get  it  out  of  your  system  somehow.  Only  you 
ought  to  remember  this,  that  you  ought  to  keep 
yourself  in  good  trim  so  that  you  can  take  good 
care  of  her  when  she  goes  home. 

HUSBAND 

I've  heard  all  of  that  before.  .  „  .  A  man  does 
the  best  he  can. 

INTERNE 

Oh,  you  mustn't  take  it  too  hard.  [Lightly. ] 
Operation  every  day  here. 

HUSBAND 
Not  this  kind  of  an  operation. 

INTERNE 

[In  pretended  surprise.]  My  dear  man,  it's 
not  so  unusual. 

HUSBAND 

\Puts  his  hat  down  on  the  high  table  and  turns 
wearily  to  the  INTERNE.]  Maybe  not.  Maybe 
not.  But  I'd  give  my  right  arm  to  escape  this 
for  her. 

[The  INTERNE  proceeds  with  his  work. 

[The  door  opens  and  the  SURGEON  enters. 


IN  HOSPITAL  83 

He  is  a  man  of  middle  age.  Long  years 
of  neglect  of  his  own  body  have  made  him 
stooped,  and  unkempt,  and  shabby.  His 
hair  is  thin  and  colourless  and  rough.  His 
eyes  are  keen  but  shift  easily  from  place 
to  place.  His  hands  are  shameless  and 
worn,  but  the  fingers  are  of  an  utmost 
dexterity  and  refinement  in  action.  Un 
der  his  right  elbow  a  soft  hat  is  crushed  to 
his  side.  He  carries  his  case  in  the  right 
hand,  while  with  his  left  hand  he  holds 
the  knob  of  the  door  which  he  has  just 
opened. 

SURGEON 

[Speaking  at  the  door  to  some  one  in  the  hall.] 
I'm  busy  now.     See  me  after  ten  o'clock. 

[Places  his  hat  and  case  on  the  table  and 
proceeds  to  take  off  his  gloves.  His  voice 
as  he  speaks  is  a  squeak  which  comes  in 
congruously  from  his  large  frame. 
[The  HUSBAND  comes  forward  and  stands 
before  the  SURGEON. 

SURGEON 
Hello,  you  beat  me. 


84  WISCONSIN  PLAYS 

HUSBAND 

Yes. 

SURGEON 

Well,  how're  you  getting  on  this  morning? 

HUSBAND 

Better,  I  guess. 

SURGEON 

That's  good.     That's  good. 

HUSBAND 

Doctor,  did  you  think  I  was  a  coward  last 
night? 

SURGEON 

No,  I  don't  remember  that  I  thought  particu 
larly  about  it.  [Places  his  hat  on  the  rack. 

HUSBAND 

I  want  to  tell  you  how  it  was.  I  had  dozed  off 
in  my  chair.  I  couldn't  sleep  in  bed,  and  all  at 
once  I  thought  I  saw  her  lying  before  me.  I  don't 
believe  in  signs,  Doctor,  I'm  not  superstitious; 
but  that — well,  it  broke  me  up.  Without  think 
ing  I  rushed  to  the  telephone  and  called  your  num* 
ber.  Thank  you  for  being  so  kind  to  me. 


IN  HOSPITAL  85 

SURGEON 

[Taking  off  his  coat.]  That's  all  right.  [To 
the  INTERNE.]  Are  you  ready,  Vic? 

INTERNE 

Whenever  you  are. 

SURGEON 

Well,  you  might  take  a  look  around  to  see  that 
everything  is  at  hand.  You  know  my  way. 

[The  INTERNE  goes  out  the  right  door.  The 
SURGEON  proceeds  to  take  off  his  coat  and 
hangs  it  up. 

HUSBAND 

Aren't  you  going  to  see  her  before  she  goes  in 
there? 

SURGEON 

Nothing  to  see  her  about  now. 

HUSBAND 

She  just  goes  in  there  like  into  the  dark? 

SURGEON 

[Patiently.]  My  experience  is  that  it's  better 
not  to  excite  patients.  She  won't  see  me  until  she 
wakes  up. 


86  WISCONSIN  PLAYS 

HUSBAND 

Doctor,  I've  got  to  ask  you  some  questions. 

SURGEON 

Fire  away. 

HUSBAND 

Can  she  take  the  anaesthetic  all  right? 

SURGEON 

Don't  you  worry  about  that.  [Gathers  up  his 
case  and  starts  to  the  right.]  Well  .  .  . 

[Speaking  in  general  without  reference  to 
any  one. 

HUSBAND 

[Stopping  him.~\  Doctor,  give  me  a  minute. 
Wait.  Things  seem  to  be  moving  so  fast  my 
courage  for  one  minute  doesn't  help  me  the  next. 

SURGEON 

[Sets  down  case  on  bench  and  rpeers  keenly  at 
HUSBAND.]  Go  on — I'll  give  you  a  minute. 

HUSBAND 

How  do  you  look  upon  a  thing  like  this?  .  .  . 
Do  you  go  into  that  room  determined  to  save  life? 


IN  HOSPITAL  87 

SURGEON 

Suppose  I  answer,  what  do  you  expect  to  gain 
by  it  2 

HUSBAND 

I  want  to  understand  you  so  that  whatever 
happens  I  won't  blame  you. 

SURGEON 

You're  all  right.  You  want  the  truth  and  I 
s'pose  I  owe  it  to  you.  No,  that  isn't  what  I'm 
thinking  about  when  I  go  in  there. 

HUSBAND 

I  was  afraid  so.  You  value — something  else 
more  than  you  value  the  life  of  your  patient*? 

SURGEON 

It  isn't  a  question  of  what  I  value.  It's  a  ques 
tion  of  the  thing  that's  put  into  my  hands  to  do, 

HUSBAND 

Of  the  operation  you've  got  to  perform. 

SURGEON 

That's  it  precisely.  Now  I'll  illustrate  it  to 
you.  Now,  listen,  for  I  want  you  to  understand 
that  I  wouldn't  talk  to  you  unless  I  thought  I 


88  WISCONSIN  PLAYS 

ought  to.  [HUSBAND  nods.]  Uh — yes — this'll 
do.  What  do  you  s'pose  the  sailor  man  thinks 
when  they  put  him  to  working  the  pumps?  Does 
he  say,  "I've  got  a  thousand  lives  to  save,"  or  does 
he  say,  "I've  got  to  get  the  water  out  of  that  there 
hold?"  What  does  he  say? 

HUSBAND 

He  says  he's  got  to  get  the  water  out  of  the 
hold. 

SURGEON 

You're  right.  Take  another  case.  What  does 
the  soldier  say  when  things  get  good  and  hot 
around  him?  Does  he  strike  a  pose  like  a  play 
actor  and  say,  "I've  got  to  save  my  country  and 
the  grand  old  flag?"  Not  much  he  don't.  I'll 
tell  you  what  he  says.  He  says,  "I've  got  to  get 
over  that  stone  wall  there  and  plug  the  man  on 
the  other  side."  That's  what  he  says,  ain't  it? 

HUSBAND 
Yes, 

SURGEON 

And  if  a  racer  is  getting  into  a  ticklish  place  he 
doesn't  watch  the  judge's  stand,  does  he,  but 
watches  the  track  and  pegs  away? 


IN  HOSPITAL  89 

HUSBAND 

Yes. 

SURGEON 

Well,  that's  the  doctor's  way  of  looking  at  it. 
He  watches  the  track  and  lets  the  flag  take  care  of 
itself. 

HUSBAND 

And  ignores  the  possible  consequences'? 

SURGEON 

And  lets  the  consequences  take  care  of  them 
selves.  We've  got  a  job  to  do  and  we  do  it. 

HUSBAND 

And  your  purpose  isn't  to  save  life"? 

SURGEON 
Not  exactly;  it's  to  do  a  good  operation. 

HUSBAND 

From  my  point  of  view  it's  your  first  business 
to  save  my  wife's  life. 

SURGEON 

Well,  it's  jolly  lucky  you  ain't  your  wife's  doc 
tor.  From  my  point  of  view  it  is  my  first  busi 
ness  to  perform  the  operation  and  give  the  treat 
ment  called  for  by  the  diagnosis. 


90  WISCONSIN  PLAYS 

HUSBAND 

And  you  shut  your  eyes  to  everything  else"? 

SURGEON 

Shut  our  eyes!  No,  sirree!  Shut  our  eyes 
nothing.  We  see  everything  that  goes  on.  We 
see  death  coming  along  and  we  ain't  scared. 
We've  got  to  see  him  if  we're  going  to  fight  him. 
And  we  see  folks  suffering  and  we  can't  stop  for 
sympathy.  Sympathy  in  a  doctor  is  near  to  weak 
ness.  What  do  we  do?  We  just  keep  ahead  and 
do  our  stint.  We  can't  pay  any  attention  to  life 
and  death.  But  they  live,  by  George,  tlhey  live, 
if  we  do  the  stint  right.  The  best  motto  I  evei 
heard  for  a  doctor  was,  "Keep  your  eyes  open, 
keep  your  heart  closed,  keep  your  hands  clean,  and 
heal  the  sick."  [Grasping  the  handle  of  his  case 
suddenly.]  What  was  it  you  said  you  wanted  to 
talk  to  me  about*? 

HUSBAND 

Nothing  now,  doctor.  I  am  willing  to  leave 
her  in  your  hands. 

SURGEON 
[Reaching  again  for  his  case.]     Eh,  well.  .  .  , 


IN  HOSPITAL  91 

HUSBAND 

May  I  see  her  before  she  goes  in  there? 

SURGEON 

Eh,  see  her1?  You  want  to  talk  with  her1? 
Let's  see  you.  [Again  he  drops  the  case  upon  the 
table,  this  time  placing  his  hand  upon  HUSBAND'S 
shoulder  and  turning  him  so  that  he  can  look  into 
his  face  and  study  him.]  How's  your  grit1? 
[HUSBAND  nods  and  smiles .]  Let's  see  your 
teeth.  [HUSBAND  opens  his  lips  and  shows  his 
teeth  firmly  pressed  together.]  Now  your  eyes. 
[He  opens  HUSBAND'S  lids  and  the  eyes  gaze  at 
him  without  a  quiver, .]  Now  swallow.  [HUS 
BAND  does  so.  They  both  smile.  SURGEON  slaps 
him  on  the  shoulder  with  a  jovial  laugh.]  You're 
all  right.  You're  a  man,  all  right. 

HUSBAND 
I  think  you  can  trust  me. 

SURGEON 

Yes,  I  reckon  I  can.  At  any  rate  I  can  trust 
her.  And  I'm  going  to  guarantee  that  I  can  trust 
you. 

HUSBAND 

Very  good. 


92  WISCONSIN  PLAYS 

SURGEON 

I'm  going  to  tell  you  what  she  said  when  this 
came  on.  Do  you  know  what  she  said*?  She 
said,  "Don't  tell  him  how  serious  my  condition  is. 
I  couldn't  bear  for  him  to  know." 

HUSBAND 
She  said  that? 

SURGEON 

She  did. 

HUSBAND> 

She  wanted  to  protect  me. 

SURGEON 

You're  right.  She  wanted  to  protect  you. 
Just  think  of  it,  will  you"?  You  couldn't  be  a 
coward  after  that —  [He  looks  HUSBAND  in  the 
eye.]  Could  you*? 

HUSBAND 

No. 

SURGEON 

[Again  slapping  him  heartily  upon  the  shoul 
der^  repeats  in  a  loud,  encouraging  tone.}  No!! 
[He  turns  awkwardly  to  go  out.}  She  may  come 
here  for  ten  minutes. 


IN  HOSPITAL  93 

[He  rings  an  electric  bell  on  the  wall,  gathers 

up  his  things  and  goes  out  at  the  right, 
[HUSBAND  stands  in  his  place. 
[INTERNE  enters  from  the  right. 

INTERNE 

Hello,  that  sun  is  bright.     It  makes  a  clear  line 
straight  across  the  room. 

HUSBAND 

I  couldn't  ask  for  a  more  beautiful  morning. 

[Enter  by  the  centre  door  WIFE  and  NURSE. 

[WIFE  advances  weakly  but  easily  and 
gracefully  toward  the  centre  of  the  room. 
She  is  dressed  in  a  bright  kimono  which 
sets  of  modestly  her  slight  but  charming 
outlines.  Her  long  rich  hair  is  parted  in 
the  middle  and  braided  in  two  strands,  one 
of  which  hangs  down  her  back.  The 
other  is  thrown  over  her  shoulder  and 
hangs  in  front.  She  is  smiling  brightly 
and  with  only  the  slightest  tinge  of  wist- 
fulness  up  at  her  husband. 

[The  NURSE  comes  around  to  the  INTERNE, 
who  stands  at  the  right  side  of  the 
room. 


94  WISCONSIN  PLAYS 

INTERNE 

You  are  to  go  into  the  operating  room.  Doctor 
needs  you. 

[NURSE  goes  out,  followed  by  the  INTERNE. 
[//  is  clear  that  HUSBAND  will  have  com- 
plete  control  of  himself. 

WIFE 
[Playfully.]     Hello,  Rumble  Growler. 

HUSBAND 

Why,  Pet,  are  they  making  you  walk  all  alone? 

WIFE 

Of  course.  What  do  you  think  I  am"?  An 
invalid? 

HUSBAND 

Not  the  least  bit  in  the  world.  But  when  I'm 
paying  this  hospital  all  the  money  they  are  charg 
ing  me  I  want  them  to  give  you  some  attention. 

WIFE 
You're  to  pay  me  the  attention  now. 

HUSBAND 

Very  well,  then  you  are  not  to  stand  any  more. 
You're  to  sit  down. 


IN  HOSPITAL  95 

WIFE 

Oh,  it  won't  hurt  me  to  stand.     You're  to  look 
at  me  first.     How  do  you  think  I  look? 

HUSBAND 

Fine! 

WIFE 

And  how  do  you  like  my  hair1?     See  my  pig 
tails? 

[She  fishes  around  behind  her  and  brings  the 
other  strand  to  the  front  and  holds  both 
out  to  him. 

HUSBAND 

[Reaches  down  to  take  the  closed  hands  in  his 
own.}     Great!     How  long  is  it?     Um! 

WIFE 

You  mustn't  touch  me.     It's  expressly  against 
orders.     Stay  your  distance. 

HUSBAND 
Must  I?    That's  hard. 

WIFE 

Orders ! 


96  WISCONSIN  PLAYS 

HUSBAND 

It's  orders,  too,  that  I  should  take  the  best  of 
care  of  you  while  you  are  visiting  me ;  and  so  you 
are  to  sit  down  here  and  never  move. 

[He  gets  chair  and  she  sits  down. 

WIFE 
All  right;  you  sit  there. 

HUSBAND 

[Sitting  down  near  her.]     Right  here. 

WIFE 

Grumbler,  you're  not  looking  well.  I  think 
Sarah  isn't  giving  you  good  meals. 

HUSBAND 

Oh,  yes,  she  is. 

WIFE 

Do  you  have  them  just  at  the  right  time? 
You're  always  so  careless,  you  know,  if  I  don't 
watch  you. 

HUSBAND 

Promptly  on  the  dot. 

WIFE 

Does  she  cook  your  steak  right  and  do  you  al 
ways  have  your  salad? 


IN  HOSPITAL  97 

HUSBAND 

Well,  now,  we'll  let  those  little  details  pass  if 
you  will  tell  me  something.  What  do  you  put 
your  hair  up  that  way  for1? 

WIFE 

Oh,  so  I  ...  [Remembering  that  this  in 
fringes  on  a  forbidden  topic. .]  Because  it's  nicer 
that  way.  It's  more  becoming.  Don't  you 
think  so? 

[Turns  around  on  the  chair  to  give  him  the 
effect. 

HUSBAND 

It  certainly  is.  I  think  you  ought  to  wear  it  in 
two  braids  all  the  time,  don't  you? 

WIFE 

I  think  I  will  after  this.  I  like  it.  ...  You 
ought  to  see  the  care  the  nurses  take  of  me.  One 
nurse  all  the  time  and  sometimes  two  or  three. 
And  they  give  me  everything  I  want. 

HUSBAND 

That's  good. 

WIFE 

And  often  they  think  of  things  and  do  them 
before  I  even  know  I  want  them.  But  they're 


98  WISCONSIN  PLAYS 

always    just    what    I'd    have    wanted    if    I'd 
thought. 

HUSBAND 

That's  good.     Might  as  well  do  something  for 
their  money. 

WIFE 
And  Grumbler. 

HUSBAND 

,Yes. 

WIFE 

[Slyly.]     The  doctors  are  very  nice.     One  of 
them — 

HUSBAND 

You  know  what  I  said  I'd  do  to  the  fellow  who 
came  hanging  around. 

WIFE 

[Shaking  her  head  playfully  and  defiantly.] 
Nope ! 

HUSBAND 

Well,  I'll  do  it,  doctor  or  no  doctor. 

WIFE 

You  always  said  I  couldn't  have  a  lady's  maid, 
too.     I  have  one  here  all  to  myself. 


IN  HOSPITAL  99 

HUSBAND 

You  can  have  one  for  a  couple  of  weeks.  But 
you  will  make  up  for  it  after  that.  When  you 
come  home  you'll  have  to  go  to  work. 

WIFE 

What  if  I  don't  do  it?  What  if  I'm  spoiled 
here? 

HUSBAND 

You  know  what  we  do  to  the  children  when 
they  won't  work.  They  go  to  bed  without  eating. 

WIFE 
Cruel  old  Rumble  Growler! 

HUSBAND 

You  don't  know  how  cruel  I  will  be  when  you 
come  home.  [He  rises  from  his  chair  and  turns 
around  suddenly  with  his  back  to  her.  The 
bright  look  for  a  moment  departs  from  her  face, 
leaving  it  wan.  When  next  he  speaks  it  is  in  a 
different  voice,  still,  however,  under  perfect  con 
trol.}  Have  you  noticed  how  bright  the  sun 
light  is  and  how  beautiful  the  morning? 

WIFE 

[Also  in  a  deeper  voice, .]  Yes.  As  I  lay  in 
my  bed  this  morning — I  awoke  early,  you  know — 


ioo  WISCONSIN  PLAYS 

I  watched  a  narrow  sunbeam  get  wider  and  longer 
and  finally  cross  the  room  until  it  pointed  right  at 
me.  Why,  this  sunbeam  is  moving,  too.  Oh,  I 
love  the  sun. 

HUSBAND 

So  do  I — and  everything  that  is  under  the  sun. 
{Both  are  silent  for  a  while.  He  walks  to  the 
window.]  Out  there  in  the  street  a  little  shaver 
is  riding  in  his  cart  behind  a  dog.  Several  steps 
behind  is  a  little  girl,  his  sister,  I'll  bet.  Yes,  she 
is  his  sister,  for  she  is  crying  with  her  mouth  wide 
open  but  he  won't  stop.  Isn't  it  strange  how  quiet 
it  is  in  here?  All  the  noise  of  the  street  is  si 
lenced.  Man's  inhumanity  to  woman.  Go  on, 
little  warrior,  in  your  cart ! 

WIFE 
Tell  me  about  the  children. 

HUSBAND 
Oh,  they  are  getting  on — so,  so. 

WIFE 
I  know  they  will. 

HUSBAND 

But  you  should  see  them!      [Turning  toward 
'her.     She  nods  without  speaking.]     They're  try- 


IN  HOSPITAL  101 

ing  hard  to  be  good,  but  it's  a  stiff  pull  for  the 
little  rascals.  Well,  I  don't  blame  them.  Fred 
die  put  me  in  quite  a  hole  the  other  day.  "What's 
the  use  of  being  good  when  mother's  away1?"  he 
asked.  [She  smiles.]  For  the  life  of  me  I 
couldn't  think  of  an  answer.  What  would  you 
say1? 

WIFE 
I'd  be  as  bad  off  as  you  were. 

HUSBAND 

But  Robert  wasn't.  He  had  an  answer. 
"So  mother  will  be  happy  when  she  comes  back," 
he  said.  Wasn't  that  good*? 

WIFE 
Just  like  Robert. 

HUSBAND 

I  don't  know  what  we  should  have  done  with 
out  Robert.  He  serves  at  the  table.  He  answers 
the  door  and  the  telephone.  He  ties  the  baby's 
bib.  How  he  thinks  of  everything  I  don't  know. 
I — I'm  so  helpless.  Why  didn't  you  ever  teach 
me  to  take  charge  of  the  house  ? 


102  WISCONSIN  PLAYS 

WIFE 

Fancy  teaching  you  anything  you  didn't  want 
to  learn. 

HUSBAND 

[After  a  moment's  deep  silence.']  All  the  kid 
dies  send  you  their  love. 

WIFE 
Even  Freddie? 

HUSBAND 

Oh,  Freddie,  to  be  sure.  Guess  you  know  about 
what  he's  doing.  Upstairs  and  downstairs. 
Outdoors  and  in. 

WIFE 

I  hope  he  won't  get  hurt. 

HUSBAND 

Trust  him  for  that.  But  how  do  you  keep  him 
in  aprons'?  They're  all  dirty  already.  Yester 
day  he  got  all  scratched  up  trying  to  put  Kitty  to 
bed  and  make  him  say  his  prayers.  He  has  fallen 
in  the  flour  bin,  put  the  telephone  out  of  commis 
sion,  pulled  the  table-cloth  and  dishes  off  the  table. 
There  isn't  anything  he  hasn't  done.  Freddie 
will  welcome  you  back  with  a  dish-pan  band,  when 
you  come  home. 


IN  HOSPITAL  103 

WIFE 

[Closing  her  eyes.} — Yes — 

HUSBAND 

[Pretending  not  to  notice,  though  it  is  clear 
that  he  does.}  Did  I  tell  you  about  night  be 
fore  last? 

WIFE 

No. 

HUSBAND 

Well,  that  night  he  slept  over  at  Cousin 
Ruthie's  house.  All  his  nightgowns  were  dirty 
so  Aunt  Ella  made  him  wear  one  of  Ruthie's. 
But  she  had  the  hardest  time  making  him  wear  it. 
The  next  morning  he  said  to  me,  "I'm  glad  I  ain't 
a  woman,  ain't  you,  Paw?"  "Yes,  I  suppose 
so,"  said  I.  "Why?"  "Oh,  they're  all  right,  I 
guess,"  he  said,  "but  before  I'll  wear  another  of 
those  women's  nightgowns  I'll  go  to  bed  raw." 

WIFE 

[Smiling.}  Little  man.  Does  he  ask  for  me 
mnch? 

HUSBAND 

Just  this  morning  he  said,  "Pop,  you  tell 
mamma  to  come  back  quick  or  I'll  elope  with  the 


104  WISCONSIN  PLAYS 

ice  man."  .  .  .  Well,  they're  good  children.  I 
don't  think  any  one  ever  had  better.  And  that's 
something,  isn't  it? 

WIFE 

That's  everything.  They  make  me  very  happy. 
.  .  .  You  know,  dear,  I  have  been  doing  a  good 
deal  of  thinking  since  I  came  here.  I've  seen 
things  very  clearly,  clearer  than  even  at  home.  I 
think  I've  been  able  to  tell  why  I've  been  so 
happy.  You  find  out  what's  really  worth  while 
in  a  time  like  this,  don't  you*? 

[HUSBAND  nods. 

WIFE 

I  won't  say  anything  about  you.  You  know. 
But  the  children.  [She  smiles.]  Yes,  I  know 
why  I've  been  happy. 

HUSBAND 
Why,  we've  both  been  happy. 

WIFE 

See!  The  sun  is  crossing  the  room  just  like 
it  did  this  morning.  It  is  coming  nearer  and 
nearer  to  you.  Oh,  I'm  so  glad  it's  a  sunshiny 
morning. 


IN  HOSPITAL  105 

HUSBAND 

It  travels  pretty  rapidly,  doesn't  it?  The 
point  of  it  is  just  touching  that  stand  over  there. 
You  remember  how  far  away  it  was  before"? 

WIFE 

Yes,  and  it  will  go  right  on.  In  an  hour  it 
will  reach  the  top  of  the  stand  and  then  it  will 
begin  to  shine  on  the  door  on  the  other  side.  .  .  . 
In  an  hour,  dear. 

HUSBAND 
Yes,  not  long.  .  .  .  About  an  hour. 

WIFE 

I  think —     [She  'pauses.]     When  it  begins  to 

shine  on  the  door —     [She  breaks  off.]     You'll 

watch  the  sunbeam,  won't  you*?     I  may  need  you. 

[HUSBAND    nods    without   answering,    and 

raises  his  arms  a  little  from  his  side  with  a 

futile  gesture. 

WIFE 
Don't  speak.  ...  It  isn't  necessary,  is  it? 

HUSBAND 
[With  difficulty.]     No. 


io6  WISCONSIN  PLAYS 

WIFE 

You  said  everything  was  very  silent  out  of 
doors.  It  seems  to  be  silent  in  here,  too.  .  .  . 
There  are  times  that  silence  is  better  than  any 
thing  else.  .  .  .  Doesn't  it  seem  to  you  that  some 
how  Time  is  going  on  silently  ...  just  like  that 
beam  of  light"? 

HUSBAND 
[Trying  to  smile. ,]      Yes,  I  suppose  so. 

WIFE 

There,  there.  And  Grumbler,  listen.  I've 
never  been  so  happy  in  my  life.  And  I  haven't 
any  pain,  now.  Isn't  that  strange?  And  isn't 
that  the  way  it  should  be?  Think  how  promising 
it  is.  [Steps  are  heard  at  the  right.]  And  we're 
both  ready,  aren't  we? 

[She  smiles  up  at  him  bravely.  There  slowly 
breaks  over  his  heavy  face  a  smile  no  less 
brave  and  quiet  than  hers. 

HUSBAND 

Yes. 

[The  door  on  the  right  opens. 


IN  HOSPITAL  107 

INTERNE 

[Speaking  off  the  stage  to  the  NURSE.]     Tell 
your  patient  we  are  ready. 

[The  NURSE  comes  out  the  right  door. 

WIFE 

[Turning  steadily.]     Do  you  want  me  now? 

NURSE 

[Coming  to  support  her.]     Yes  .  .  .  all  ready 
...  do  you  want  my  help*? 

WIFE 

Oh,   no.     I   can   walk  perfectly.      [Over  her 
shoulder  lightly.]     By  by,  Grumbler. 

HUSBAND 

So  long,  Pet. 

[WIFE  and  NURSE  walk  to  the  door  and  go 
out.     NURSE  closes  the  door. 

HUSBAND  stands  in  the  middle  of  the  room  watch 
ing  until  they  have  disappeared.  Then  he 
walks  to  the  door  and  stands  near  it  as  if  look 
ing  and  listening.  The  room  is  very  quiet. 
After  a  moment  he  backs  away  from  the  door 
to  the  centre  of  the  room  and  there  seats  himself 
in  the  chair  in  which  she  had  sat.  His 


io8  WISCONSIN  PLAYS 

which  is  cast  straight  to  the  front  with  drawn 
lustreless  eyes,  is  blank  and  impassive.  He  is 
waiting. 

The  sunbeams  begin  to  fall  on  the  wall  near  the 
door.  But  he  does  not  see  them.  His  hands 
are  drawn  together  until  his  fists  are  taut  knobs. 
Now  and  again  he  turns  with  a  vacant  stare  and 
an  immobile  face  toward  the  door.  Nothing 
enlightened  he  turns  again  and  rests  his  eyes  on 
space  waiting  for  news.  Now  and  then  his 
mouth  twitches.  His  lips  become  dry  and  he 
moistens  them  with  his  tongue.  The  right  side 
of  his  jaw  sinks,  pulling  his  mouth  down  until 
it  becomes  an  irregular  line  cutting  his  gaunt 
features.  Then  he  draws  his  features  back  into 
control  again  and  the  expression  of  vacant  pain 
returns  to  his  face. 

Thirty  seconds  pass,  representing  a  long  space  of 
time  in  the  operating  room  on  the  right.  The 
beams  of  the  sun  fall  steadily  in  a  diagonal  line 
toward  the  door.  Then  suddenly  he  first  sees 
the  beam.  His  eyes  light  with  understanding, 
the  vacant  expression  leaves  his  face.  From 
this  time  on  he  follows  the  course  of  the  sun-ray 
with  deep  attention.  He  leans  forward,  his 


IN  HOSPITAL  109 

feet  drawn  close  under  him,  his  hands  clasping 
the  arms  of  his  chair.  Once  he  rises  and  backs 
of  that  he  may  better  watch  the  ray  of  light. 
He  gives  all  his  attention  to  the  quiet  room 
toward  which  the  sunbeam  is  moving. 

A  minute  has  passed  on  the  stage;  a  minute  and 
a  half.  Perhaps  three  or  four  minutes  elapse 
on  the  stage  before  the  symbolism  of  the  long 
period  of  time  in  the  operating  room  on  the 
right  can  be  considered  complete.  During  this 
time  he  sits  in  absolute  silence,  a  silence  made 
more  'profound  by  the  sense  of  significance  which 
his  attitude  attaches  to  it.  As  time  goes  on  he 
becomes  quieter,  whether  with  resignation  or 
strength.  No  sound  pierces  the  dense  quiet  of 
the  room  in  which  time  moves  forward  on  the 
limpid  rails  of  light.  The  man's  attitude  is  so 
tense  that  it  seems  as  if  he  fears  to  break  the 
steady  course  of  the  sunbeam.  As  time  goes 
on  he  seems,  if  possible,  to  watch  the  door  more 
closely.  Now  the  beam  of  light  becoming 
broader  breaks  over  the  stand  by  the  wall  and 
throws  a  spot  of  light  over  the  door  of  the  oper 
ating  room. 

In  another  moment  the  whole  side  of  the  wall  zs 
alight.  The  hour  is  complete.  As  the  time 


no  WISCONSIN  PLAYS 

for  which  he  was  to  wait  passes,  the  attitude  of 
the  man  changes  again.  He  springs  from  his 
chair  and  spaces  twice  across  the  room  with  soft 
steps.  Then  he  suddenly  stops  and  leans 
against  a  chair,  and  as  second  follows  second, 
his  head  sinks. 

{There  are  sounds  of  motion  in  the  room  on 
the  right.  The  door  opens  and  the  NURSE 
comes  hurriedly  out. 

HUSBAND 
Is  there  anything — ? 

NURSE 
Do  not  stop  me  now. 

[She  goes  out  by  the  centre  door.  HUSBAND 
watches  the  door  through  which  she  has 
gone.  NURSE  returns  leaving  the  doors 
open. 

HUSBAND 

[With  greater  strength.}     I  beg  you — 

NURSE 

[Impatiently.}     Please!     You  must  wait! 
[HUSBAND  steps  back.     NURSE  goes  out  the 
right  door.     HUSBAND  watches  this  as  be- 


IN  HOSPITAL  ill 

fore.     Immediately  this   door  is   opened 
and  the  INTERNE'S  voice  is  heard. 

INTERNE 

Easy  now  .  .  .  easy.  [To  NURSE.]  You  go 
first. 

[Enter  the  NURSE  drawing  one  end  of  a 
wheeled  cot  on  which  lies  a  still  form  un 
der  blankets.  At  the  other  end  enters  the 
INTERNE  carefully  guiding  the  cot. 

INTERNE 

Careful,  careful,  of  this  joint.  Watch  out  for 
the  desk.  There  you  go.  Easy.  That's  all 
right.  Hold  your  end.  There's  the  door. 

[HUSBAND  watches  silently  and  as  if  from 
a  great  distance  an  absorbing  drama  in 
which  he  is  permitted  to  play  no  part. 

INTERNE 

Now.  There.  All  right.  I  can  close  the 
door. 

[They  take  their  burden  out  by  the  centre 
doors  and  the  INTERNE  closes  them  behind 
him.  The  HUSBAND  is  left  in  a  silence  as 
vast  as  before  but  more  empty.  Enter, 
through  the  open  door  at  the  right,  the 


112  WISCONSIN  PLAYS 

SURGEON.  He  is  almost  unrecognisable. 
Dressed  in  white  from  head  to  foot,  one 
trouser  leg  is  crumpled  above  his  shoe,  his 
coat  sleeves  are  drawn  u£  over  his  wrists, 
his  white  skull  cap  has  slipped  down  over 
one  ear,  and  the  bandage  over  his  mouth 
has  been  chewed  into  a  wet  rag  which  cov 
ers  his  lower  teeth  and  gets  in  the  way  of 
his  tongue.  He  is  vigorously  wiping  his 
hands  and  wrists  with  a  large  towel. 

HUSBAND 

[Compressing  all  of  his  questions  into  the 
words.]  My  wife"? 

SURGEON 

Eh — eh —  Oh!  [Removing  the  rag  from  his 
mouth.]  A  beautiful  operation!  Beautiful! 
She  will  live. 

[HUSBAND  reaches  to  the  high  table  for  sup 
port  and  stands  limply  nodding  his  head 
without  speaking. 


GLORY  OF  THE  MORNING 

A  PLAY  IN  ONE  ACT 
BY  WILLIAM  ELLIRY  LEONARD 


THE  PEOPLE  OF  THE  STORY 

GLORY  OF  THE  MORNING,  The  Chevalier's  Winnebago 

squaw 
THE  CHEVALIER,  called  the  HALF  MOON,  a  nobleman, 

now  an  adventurer  in  the  French  fur-trade 

RED  WING,  a  boy  }         . 

_,       _  .  ,     v  i  heir  children 

OAK  LEAF,  a  girl   J 

BLACK  WOLF,  a  visionary  old  medicine-man,  not  with 
out  some  homely  wisdom 


An  Autumn  afternoon  long  ago. 

To  the  left  a  wigwam.  A  disused  cradle-board. 
A  water  jar.  A  wooden  mortar  and  pestle.  A 
corn  shock.  A  little  to  the  rear  and  to  the 
right,  two  sticks  with  upright  forks  supporting 
a  cross-bar,  from  which  hangs  a  copper  kettle. 
To  the  farthest  right  a  canoe  with  paddles, 
drawn  up  among  the  rushes  from  the  shore  of 
the  inland  lake  beyond.  An  oak  tree,  with  its 
fallen  leaves  of  red  and  brown  strewn  about. 
Two  or  three  boulders.  A  buffalo  skull.  Far 
ther  to  the  rear  away  from  the  lake-side, 
glimpses  of  the  rest  of  the  Indian  village. 
After  a  moment  GLORY  OF  THE  MORNING,  a 
comely  Indian  woman  of  thirty,  emerges  from 
the  wigwam:  she  pulls  an  ear  of  corn  from  the 
shock,  grinds  it,  and  sifts  through  her  fingers 
into  the  kettle;  she  draws  water  from  the  beach 
for  the  kettle;  she  arranges  leaves  and  sticks  for 

Copyright,   1912,  by  William  Ellery  Leonard 
117 


ii8  WISCONSIN  PLAYS 

the  fire;  meanwhile  humming  some  low  wild 
notes  and  stopping  at  her  work  to  look  out  over 
the  lake.  At  last,  seating  herself  on  the  ground ', 
she  continues  sewing  beads  on  a  buckskin  shirt, 
with  a  glance  now  and  then  far  away.  After 
another  moment  or  two,  RED  WING,  her 
twelve  year  old  boy,  comes  running  in  from 
behind  the  wigwam,  with  bow  and  quiver  and 
a  quarry  of  squirrels. 

RED  WING 

{Throwing  down  the  squirrels.]     Count  them, 
Mother. 

GLORY    OF    THE    MORNING 

[Handling.]     One,  two,  three,  four,  five,  six. 
Papoose  will  lead  the  buffalo  hunt. 

RED  WING 

That's  more  squirrels  than  any  of  the  other 
boys  got. 

GLORY    OF    THE    MORNING 

The  other  boys  will  elect  Red  Wing  little 
Chief. 

RED    WING 

I  made  Round  Turtle,  and  Blue  Snake,  and 
Crow  Tongue  go  with  me;  and  Rainspot  too. 


GLORY  OF  THE  MORNING       119 

And  Rainspot  hit  only  one, — and  he's  three  win 
ters  taller  than  I  am. 

GLORY    OF    THE    MORNING 

This  autumn,  out  gathering  sassafras  below: 
Acorn  Hill,  I  have  seen  many  squirrels'  nests  in 
the  bare  treetops. 

RED  WING 

But  to-day  we  were  not  on  Acorn  Hill.  We 
were  other  side  Wild  Rice  Cove  [pointing  to  the 
left  and  rear]  in  the  woods  beyond  the  Big  Eagle 
Mound.  And  one  squirrel  sitting  on  a  boul 
der  .  .  . 

GLORY    OF    THE    MORNING 

Beyond  the  Big  Eagle  .  .  .  the  Thunderbird! 
Black  Wolf  will  scold  you. 

RED    WING 

Black  Wolf  will  give  me  a  new  bow. 

GLORY    OF    THE    MORNING 

Black  Wolf  will  be  angry. 

RED    WING 

Queer  old  Black  Wolf!  Forever  standing  on 
the  Thunderbird  and  talking  to  the  sunset.  Wails 


120  WISCONSIN  PLAYS 

like  a  wolf.     Halloos  like  a  screech  owl.     But 
he's  forgotten  how  to  shoot. 

GLORY    OF    THE    MORNING 

[Continuing  with  her  bead  work.]  You  laugh 
too  often  at  the  Black  Wolf.  You  must  not. 
He  sees  visions.  He  speaks  to  the  Manitou.  He 
is  wise.  He  knows  what  was  and  what  is  to  be. 

RED  WING 

But  Black  Wolf  won't  find  out  where  I  got 
them,  if  Rainspot  or  somebody  doesn't  tell  him. 

GLORY    OF    THE    MORNING 

I  don't  know.     He  is  wise. 

RED    WING 

He  can't  shoot,  but  he  can  tell  stories. 

GLORY    OF    THE    MORNING 

I  know  you  like  him. 

RED    WING 

I  like  his  stories. 

GLORY    OF    THE    MORNING 

He  told  your  mother  a  new  story  this  morn 
ing. 


GLORY  OF  THE  MORNING       121 

RED    WING 

[Dropping  to  the  ground.]     I  am  listening, 
Mother. 

GLORY    OF    THE    MORNING 

But  perhaps  I'm  not  going  to  tell  it. 

RED    WING 

Then  I'll  ask  Black  Wolf. 

GLORY    OF    THE    MORNING 

It  will  make  your  eyes  big. 

RED    WING 

Is  it  about  the  Chippewa? 

GLORY    OF    THE    MORNING 

No. 

RED    WING 

He  has  found  out  who  stole  the  war-club  of 
Grandfather  Big  Canoe! 

GLORY    OF    THE    MORNING 

No. 

RED    WING 

It  is  about  you. 

GLORY    OF    THE    MORNING 

It  is  a  story  I  have  long  waited  to  hear. 


122  WISCONSIN  PLAYS 

RED    WING 

There  he  goes — there  he  comes  again ! 

GLORY    OF    THE    MORNING 

[Startled  and  expectant.}     Who? 

RED    WING 

The  lame  rabbit  that  got  out  of  my  trap  yes 
terday. 

GLORY    OF    THE    MORNING 

You  must  listen.     It's  a  very  short  story. 

RED    WING 

Tell  it  then,  quick. 

GLORY    OF    THE    MORNING 

Red  Wing,  Black  Wolf's  new  story  says  that 
your  father  comes  back  to-day  from  the  French 
man's  town  by  the  Big  River. 

RED  WING 
The  Half  Moon  comes  back"? 

GLORY    OF    THE    MORNING 

He  comes  back. 

RED    WING 

That's  not  like  the  stories  Black  Wolf  tells 
me. 


GLORY  OF  THE  MORNING       123 

GLORY    OF    THE    MORNING 

Are  you  not  glad"? 

RED    WING 

Yes. 

GLORY    OF    THE    MORNING 

The  Half  Moon  will  be  proud  of  his  son  and 
the  squirrels.  He  will  put  his  hand  on  your  shoul 
der.  He  will  pay  you  six  iron  arrow-heads  for 
the  skins. 

RED  WING 

Iron  arrow-heads.     Six  iron  arrow-heads. 

GLORY    OF    THE    MORNING 

.Yes. 

RED    WING 

Mother,  I  don't  like  the  iron  arrow-heads  that 
father  always  brings  back  to  the  village. 

GLORY    OF    THE    MORNING 

Many  of  the  young  braves  like  them.  They 
don't  break  or  nick.  They  are  strong  and  sharp. 

RED  WING 

[Standing  up.]  But  the  Winnebago  didn't 
make  them.  They  are  not  real  arrow-heads. 


124  WISCONSIN  PLAYS 

They  didn't  grow  from  the  rocks  in  the  Yellow 
Ridge. 

GLORY    OF    THE    MORNING 

Where  did  you  learn  those  thoughts'? 

RED    WING 

I  am  a  Winnebago. 

GLORY    OF    THE    MORNING 

You  are  talking  like  Grandfather  Big  Canoe. 

RED    WING 

Besides  they  are  bad  medicine.  They  are  to 
blame  for  the  blackbirds  eating  up  tL\.  wild  rice 
this  summer. 

GLORY    OF    THE    MORNING 

And  now  you  talk  like  Black  Wolf. 

RED    WING 

Nobody  shall  bind  father's  arrow-heads  into 
the  ends  of  the  shafts  in  my  quiver,  Mother.  I 
will  kill  squirrels  and  deer  and  buffalo  with  these 
points  of  flint. 

GLORY    OF    THE    MORNING 

Where  did  you  get  them*? 


GLORY  OF  THE  MORNING       125 

RED    WING 

Grandfather  Big  Canoe  taught  me  how  to  chip 
them  with  the  bone  flaker. 

GLORY    OF    THE    MORNING 

Your  Grandfather  Big  Canoe  has  taught  you 
many  things,  hasn't  he1? 

RED    WING 

More  than  the  Half  Moon. 

GLORY    OF    THE    MORNING 

Your  father  is  busier  than  Grandfather  Big 
Canoe,  and  must  go  to  the  white  man's  land. 

RED  WING 

[Dropping  down  again.}  Mother,  Black  Wolf 
says  Father  is  a  squaw-man.  What  is  ... 

GLORY    OF    THE    MORNING 

See,  Red  Wing,  the  Half  Moon's  new  buck 
skin  shirt  is  almost  done.  He  will  put  it  on  this 
very  day  and  you  will  clap  your  hands. 

RED  WING 
What  is  a  squaw-man? 


126  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

[Putting  her  hand  on  his  head.]  Papoose, 
won't  you  be  glad  to  see  your  father  again  after 
these  long,  long  months  at  the  Big  River"? 

RED  WING 
Where  is  the  Big  River? 

GLORY    OF    THE    MORNING 

[Walking  and  pointing  out  into  the  lake.] 
Far  away  beyond  the  Four  Lakes,  beyond  the  Nip- 
pising  and  the  rapids  of  the  Ottawa,  far  away 
beyond  the  Hunting-grounds  and  the  forests  of 
the  Huron,  nearly  to  the  Big  Sea  Water  and  the 
Morning  Star.  It  is  very  far  away. 

RED  WING 

I  wish  Father  would  stay  home  and  fight  the 
Chippewa. 

GLORY    OF    THE    MORNING 

The  Half  Moon  has  to  visit  his  friends  and  sell 
his  skins.  [Cheerily.]  But  to-day  he  ... 

RED    WING 

[Heedlessly.]     What  is  a  squaw-man? 

[Enter  from  the  side  toward  the  lake  OAK 
LEAF,  the  thirteen  year  old  daughter,  fol- 


GLORY  OF  THE  MORNING       127 

lowed  by  BLACK  WOLF,  who  carries  a 
calumet  on  which  he  has  been  binding  the 
sacred  eagle-feathers,  dyed  in  yellow  and 
'scarlet. 

OAK    LEAF 

Mother,  Mother,  Mother! 

GLORY    OF    THE    MORNING 

[Busy  at  the  half -built  fire.  ]     Well,  Oak  Leaf? 

OAK    LEAF 

I  know  something ! 

GLORY    OF    THE    MORNING 

Yes. 

OAK    LEAF 

Black  Wolf  had  a  dream  last  night. 

GLORY    OF    THE    MORNING 

Yes. 

OAK    LEAF 

Father  is  coming  home  before  the  stars. 

QLORY    OF    THE    MORNING 

Silly  child,  I  know. 

OAK    LEAF 

O  do  you  know  too ! 


128  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

Don't  you  suppose  I've  had  Black  Wolf  for  a 
friend  ever  so  much  longer  than  you  have"?  He 
whispers  me  many  of  his  secrets.  He  told  me 
two  hours  ago  that  the  Half  Moon  was  coming 
home. 

OAK    LEAF 

And  will  he  bring  me  presents? 

GLORY    OF    THE    MORNING 

Yes. 

OAK    LEAF 

O  the  red  cloth  he  promised  me ! 

GLORY    OF    THE    MORNING 

Yes. 

OAK    LEAF 

And  the  blue  beads  and  the  little  shining  ban 
gles  ! 

GLORY   OF   THE    MORNING 

;Yes. 

OAK    LEAF 

On  a  golden  cord,  Mother ! 

GLORY    OF    THE    MORNING 

You  want  to  see  him  almost  as  much  as  your 
mother  does. 


GLORY  OF  THE  MORNING       129 

OAK    LEAF 

O  more,  Mother  Glory  of  the  Morning!  And 
I  know  he  wants  to  see  Oak  Leaf. 

GLORY    OF    THE    MORNING 

More  too  than  he  wants  to  see  Glory  of  the 

Morning? 

OAK    LEAF 

How  should  I  know ! 

GLORY    OF    THE    MORNING 

Oak  Leaf,  when  the  father  loves  the  daughter, 
the  mother  is  made  glad. 

OAK    LEAF 

But  Mother,  won't  the  maidens  be  jealous  at 
the  next  Dance-of-the-Virgins — and  sorry  for  their 
buckskin  skirts  and  their  snail  shell  necklaces !  O 
how  fine  I'll  be ! 

RED  WING 
The  maidens  won't  like  you. 

OAK    LEAF 

[Running  up  and  pushing  him  over  where  he 
sits.}  But  won't  the  braves  come  staring  round 
the  lodge,  Red  Wing!  [She  turns  -with  dancing 
steps.}  Look  at  me,  Black  Wolf.  Am  I  not  the 


130  WISCONSIN  PLAYS 

pretty  one,  Half  Moon's  lovely  daughter!      [Pre 
tending.}     No,  not  too  near,  old  medicine-man! 

GLORY    OF    THE    MORNING 

But  Oak  Leaf,  have  you  anything  for  him*? 
Red  Wing's  just  brought  home  six  squirrels. 

OAK    LEAF 

[Jumping  down  on  her  knees. }  O  the  plump 
little  puppies!  I  will  dress  them  for  the  feast 
of  his  coming  home.  [Teasing.}  Black  Wolf 
will  help. 

BLACK    WOLF 

[  With  dignity.}  Oak  Leaf,  Black  Wolf  is  not 
a  squaw. 

OAK    LEAF 

[Mocking}  Black  Wolf,  Oak  Leaf  is  not  a 
medicine-man. 

BLACK    WOLF 

Black  Wolf  will  never  do  a  squaw's  work. 
You  like  too  well  to  play  the  white  woman  when 
you  are  happy. 

OAK    LEAF 

Old  Moose!  Anyway  come  and  sit  down  by 
me. 

[BLACK  WOLF  seats  himself  on  a  boulder 


GLORY  OF  THE  MORNING       131 

near  OAK  LEAF  and  is  busy  'with  arrang 
ing  the  feathers  on  the  bowl  of  his  calu 
met.  RED  WING  sprawls  at  full  length 
on  his  back  with  his  hands  behind  his  head. 
GLORY  OF  THE  MORNING  sits  again  at  her 
bead  work  with  the  shirt  in  her  lap. 

BLACK    WOLF 

Oak  Leaf,  the  young  braves  will  not  come  to 
sing  before  the  wigwam  if  you  treat  them  as  you 
treat  Black  Wolf. 

RED    WING 

Sister  Oak  Leaf,  you  are  going  to  marry  Rain- 
spot. 

OAK    LEAF 

Yes. 

RED    WING 

When? 

OAK    LEAF 

When  the  pines  turn  yellow  and  the  sumach- 
berries  white  and  the  wild  rice  grows  in  the  moon. 
[Disdainfully.']  Rainspot! 

[GLORY  OF  THE  MORNING  walks  toward  the 
water. 


132  WISCONSIN  PLAYS 

RED    WING 

Rainspot  hurled  the  ice-arrow  on  the  lake  far 
ther  than  I  could  last  year.  But  I'll  beat  him 
this  winter. 

OAK    LEAF 

[Rolling  with  a  quick  wild  grace. \  Rainspot! 
— I'll  tell  you  who  I'll  marry. 

RED    WING 

Who? 

OAK    LEAF 

I  will  marry  Pierre,  the  trader. 

RED  WING 
He  doesn't  want  you. 

OAK    LEAF 

[Throwing  a  twig  at  RED  WING.]  Yes  he 
does.  Whenever  he  comes  over  to  the  village 
from  the  Panther  Woods  after  rice  and  corn  and 
maple  sugar,  he  gives  me  ribbons  and  says  funny 
things  to  me  in  the  white  man's  tongue.  Father 
told  me  what  they  meant  once. 

RED  WING 

The  dogs  don't  like  Pierre.  They  snap  at  his 
heels  as  soon  as  he  beaches  his  canoe.  I  don't  like 
him  either. 


GLORY  OF  THE  MORNING       133 

OAK    LEAF 

But  he's  a  Frenchman,  a  fur-trader,  like  Father. 

RED  WING 

[Turning  over,  with  palm  on  chin.}  Black 
Wolf,  what  is  a  squaw-man*?  Why  did 
Mother  .  .  . 

GLORY    OF    THE    MORNING 

[Returning.}  Black  Wolf,  I  fear  your  visions 
sometimes  fail.  We  do  not  see  the  Half  Moon's 
canoe.  I  am  not  so  sure  that  the  Half  Moon 
is  coming  back  to-day. 

OAK    LEAF 

But  he  is!  He  is!  I  had  a  dream  too — O, 
what  did  I  dream?  I  dreamed  I  saw  him  in  the 
white  man's  coat  with  the  gleaming  buttons,  and 
a  long,  long  knife  in  a  narrow  quiver  swinging 
from  a  belt  on  his  left  side;  like  the  Frenchman 
who  lived  in  our  lodge,  at  the  time  of  the  last 
Bird  Dance. 

RED  WING 

And  used  to  grin  when  Mother  Glory  of  the 
Morning  scolded  him  for  kissing  you. 


134  WISCONSIN  PLAYS 

BLACK    WOLF 

Did  you  dream  that? 

OAK    LEAF 

Yes. 

BLACK    WOLF 

Oak  Leaf,  I  don't  like  your  dreams. 

OAK    LEAF 

Why?     Won't  Father  come  back? 

BLACK    WOLF 

The  Half  Moon  comes  back  before  the  rising 
stars.  Black  Wolf  knows. 

OAK    LEAF 

I  only  dream  after  you,  Black  Wolf — just  for 
fun. 

RED    WING 

[Again  sprawling  on  his  back.]  I  know  what 
a  squaw-man  is.  Grandfather  Big  Canoe  told  me. 
It  was  last  year  at  the  falling  of  the  leaves  when 
the  braves  were  out  on  the  warpath  of  the  Chip- 
pewa.  Rainspot  and  Crow  Tongue  began  calling 
me  squaw-man's  papoose,  because  Half  Moon  had 
been  way  off  in  the  white  man's  town  again — 


GLORY  OF  THE  MORNING       135 

through  all  the  months-of-the-green-growing-corn, 
and  hadn't  come  back  yet. 

OAK    LEAF 

What  did  Grandfather  Big  Canoe  say? 

RED  WING 

Grandfather  Big  Canoe  said:  "A  squaw-man 
is  a  Pale  Face  playing  Indian  for  the  bear  and 
beaver  and  buffalo  skins  he  can  get  from  the  real 
Indians  to  send  back  over  the  Big  Sea  Water." 

GLORY    OF    THE    MORNING 

Your  grandfather  was  cruel.  He  knows  why 
I  married  the  Half  Moon. 

OAK    LEAF 

O  Mother,  he  married  you  because  you  were 
the  glory  of  the  morning,  and  as  beautiful  as  Oak 
Leaf. 

BLACK    WOLF 

[Standing.]  He  married  you  because  we  had 
lost  so  many  of  the  young  men  in  the  wars  with 
the  Chippewa  and  thought  we  needed  to  be  friends 
with  the  white  men.  Chief  Big  Canoe  exchanged 
the  Wampum  bead-belts.  Red  Wing,  do  you 
know  what  the  three  long  purple  lines  across  the 
wampum  mean4? 


136  WISCONSIN  PLAYS 

RED    WING 

[Sitting  up.]  They  mean  that  the  roads  are 
open  between  the  two  tribes. 

BLACK    WOLF 

Yes,  that  the  roads  are  open.  Chief  Big 
Canoe  gave  the  Half  Moon  his  daughter  that  the 
roads  might  be  open  between  the  Indian  and  the 
white  man.  But  when  I  speak  to  him  about  it 
to-day,  he  bows  his  head. 

GLORY    OF    THE    MORNING 

And  comes  no  more  to  visit  the  wigwam  of  his 
daughter. 

BLACK    WOLF 

But  the  Half  Moon  rejoiced  in  the  open  roads. 
And  a  wigwam  among  the  Winnebago  has  filled 
his  pack  with  the  wealth  of  the  Indian  Hunting- 
grounds. 

GLORY    OF    THE    MORNING 

Black  Wolf,  you  are  all  cruel ;  you  do  not  un 
derstand.  The  men  sold  me  to  the  Half  Moon. 
The  Half  Moon  bought  me.  Then  I  worked  for 
the  Half  Moon;  I  laid  the  dead  fish  in  the  corn 
hills  and  planted  the  seed,  and  brought  the  ears 
home  for  him  to  eat;  from  the  spring  I  drew  the 


GLORY  OF  THE  MORNING       137 

water  for  him  to  drink;  I  shook  from  the  bended 
reeds  the  grains  of  the  wild  rice  into  my  canoe 
for  him;  for  him  I  pounded  the  buffalo  meat  and 
dried  it  and  pressed  it  and  laid  it  away  in  a  skin 
against  the  coming  of  the  snow;  at  the  lodge  I 
built  the  fire  to  warm  him  through  the  winter 
and  sewed  him  his  shirts  and  his  moccasins.  I 
gave  him  children.  He  needed  me.  But  now 
the  Half  Moon  is  more  needful  to  Glory  of  the 
Morning  than  Glory  of  the  Morning  is  to  the 
Half  Moon, 

BLACK    WOLF 

All  the  village  knows  you  have  been  a  good 
squaw. 

GLORY    OF    THE    MORNING 

Besides  Black  Wolf  is  a  medicine-man.  He  re 
members  old  stories  of  the  animal  earthworks  of 
our  forefathers,  and  he  sees  visions.  But  he  can 
not  understand  a  squaw's  heart.  And  Red  Wing 
is  still  a  child.  Do  you  understand  a  squaw's 
heart,  Oak  Leaf  ? 

OAK    LEAF 

Haven't  I  one,  just  like  you*? 


138  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

[Lifting  the  girl's  white  hand.]  I  wonder 
.  .  .  perhaps. 

RED  WING 
But  Mother,  I'm  not  a  child. 

BLACK    WOLF 

Black  Wolf  knew  that  a  squaw's  heart  would 
beat  to  hear  that  the  Half  Moon  comes  back  to 
day. 

GLORY    OF    THE    MORNING 

That  was  good.  [Walking  and  looking  out 
over  the  lake.]  Where  is  he1?  He  has  always 
come  crossing  the  long  arm  of  the  lake  around 
Bear  Island  [pointing]  from  Pierre's  block-house 
in  the  Panther  Woods.  How  many  times  I  have 
sat  here  and  seen  him  paddling  home  at  last.  The 
sun  is  nearly  set. 

BLACK    WOLF 

You  are  a  woman.  You  care  most  for  your 
own  wigwam.  I  do  understand.  But  you  do  not 
understand  Black  Wolf.  You  think  you  believe 
his  stories  and  visions;  but  you  do  not — unless 
they  are  about  the  Half  Moon  or  your  own  wig 
wam.  That  is  the  way  with  the  squaws. 


GLORY  OF  THE  MORNING       139 

GLORY    OF    THE    MORNING 

Who  made  me  a  squaw? — The  Great  Spirit 
made  me  a  squaw. 

BLACK    WOLF 

Ah,  what  does  it  matter  to  you?  You  have 
forgotten.  You  have  forgotten  the  days  of  our 
strength,  when  a  thousand  braves  built  the  Great 
Mound  of  the  Eagle,  the  Thunderbird,  at  the  .  .  . 

RED  WING 
O  tell  us  about  the  thousand  braves ! 

OAK    LEAF 

[Mockingly  playful.}  Do,  wise  old  Black 
Wolf — and  why  you  are  always  standing  out  there 
alone  in  the  dusk. 

BLACK    WOLF 

[  With  the  large  mien  of  his  full  barbaric  height. 
RED  WING  now  sits  facing  him,  more  and  more 
intent,  with  back  to  you  and  me.}  The  Great 
Thunderbird  at  the  ancient  festival  in  the  days 
when  the  clan  still  knew  the  swift  Eagle  as  its 
father.  You  have  forgotten  that.  His  spirit 
dwelt  there  for  twenty  generations  of  warriors. 
Now  that  spirit  is  fled.  The  place  is  a  heap  of 
dead  earth.  The  woods  hide  it.  The  autumn 


140  WISCONSIN  PLAYS 

leaves  fall  upon  it.  Every  spring  the  melting 
snow  washes  it  bit  by  bit  away.  And  the  wood- 
chucks  make  their  holes  in  it.  Again  and  again 
I  go  to  call  the  Eagle  Spirit  back  to  its  old  dwell 
ing  place.  But  the  Great  Eagle  Mound  is  dead. 
The  children  of  the  Winnebago  go  thither  to  hunt 
the  squirrel. 

RED  WING 

Six  fat  ones,  Black  Wolf.  How  .  .  .  how 
did  you  know? 

BLACK    WOLF 

[Continuing  to  GLORY  OF  THE  MORNING.] 
The  eyes  of  the  squaws  cannot  look  back  into  the 
shadows.  You  all  turn  towards  the  east.  To 
ward  the  road  of  the  white  men.  You  like  their 
trinkets — their  red  cloth,  their  lead  spoons,  their 
tinkling  bangles.  [Pointing  with  the  calumet.] 
You  boil  Indian  meat  in  the  copper  kettles  of  the 
white  men.  [Pointing  with  the  calumet  to  the 
shirt  on  the  ground.]  You  sew  the  white  man's 
beads  on  the  Indian's  shirt. 

OAK    LEAF 

[Interrupting.]  But  the  shirt  that  Mother 
makes  for  Father  is  a  white  man's  shirt. 


GLORY  OF  THE  MORNING       141 

BLACK    WOLF 

[Continuing. ,]  You  destroy  the  hearts  of  the 
braves.  They  do  nothing  but  trap  the  beaver 
and  give  the  skins  away  for  the  white  man's  iron 
tomahawks.  They  forget  the  cunning  of  their 
fathers.  They  cannot  peck  the  stone  with  the 
flint  and  polish  to  an  edge  with  the  sandstone  in 
water,  and  bind  with  the  buck-thongs  to  the  ashen 
handle,  like  the  old  men. 

RED  WING 
Grandfather  Big  Canoe  is  going  to  teach  me. 

GLORY    OF    THE    MORNING 

[Near  the  kettle,  turning.}  Won't  the  white 
man's  tomahawk  cleave  the  skull  of  the  Chip- 
pewa? 

BLACK    WOLF 

Never,  never  in  the  hand  of  the  Winnebago. 
The  Great  Spirit  says  every  people  must  hold  the 
war-weapon  of  its  own  handicraft.  When  it  loses 
its  cunning  to  make,  it  must  lose  its  power  to  fight. 

RED    WING 

But  the  iron  tomahawk  is  not  the  white  man's 
war-weapon. 


142  WISCONSIN  PLAYS 

BLACK    WOLF 

No;  he  makes  it  to  steal  with.  We  have  seen 
the  white  man's  weapon — and  the  Half  Moon's 
magic  smoke-tube  has  spoken  even  here  to  the  wild 
geese  far  up  in  the  cold  blue  sky  ere  the  ice  was 
gone  from  the  lake.  But  should  it  speak  at  Black 
Wolf,  Black  Wolf  would  fall  forward  on  his  face, 
and  the  life  would  depart  out  of  his  eyes  forever. 

GLORY    OF    THE    MORNING 

You  must  not  say  that  .  .  .  the  Half  Moon 
calls  Black  Wolf  brother. 

BLACK    WOLF 

And  the  young  braves  drink  at  the  feasts  no 
more  the  maple  sap  and  the  juice  of  the  wild  grape 
since  they  have  tasted  the  Frenchman's  fire-water. 

OAK    LEAF 

I  have  tasted  the  fire-water,  Black  Wolf.  It 
is  good  for  the  heart. 

BLACK    WOLF 

They  lay  on  the  spirit-stones  of  the  Manitou 
not  now  the  old  offerings  of  goldenrod  and  sun 
flower,  but  the  red  ribbons  of  the  white  men  in 
the  wind. 


GLORY  OF  THE  MORNING       143 

OAK    LEAF 

I  should  think  the  Great  Spirit  would  love  the 
bright  ribbons  more  than  the  flowers  that  fester 
and  wither  away. 

BLACK    WOLF 

They  will  sometime  lay  there  the  white  man's 
tobacco.  But  in  the  council  the  old  men  will 
never  smoke  the  white  man's  tobacco  in  Black 
Wolf's  calumet.  [Holding  up  the  ceremonial 


RED    WING 

When  I  am  an  old  man,  I  will  never  smoke 
the  white  man's  tobacco  in  Black  Wolf's  calumet. 

BLACK    WOLF 

I  believe  you,  boy.  —  And  the  white  man's  med 
icine-man  has  made,  like  the  hunter  and  trader, 
his  paths  through  the  forests  and  streams.  I  met 
him  long  ago  at  Montreal,  the  town  by  the  Big 
River.  He  wore  wide  black  robes  and  a  little 
black  hat.  He  stopped.  He  held  his  silver  med 
icine  charm  up  to  my  eyes  and  mumbled  his  magic 
words  and  tried  to  bewitch  Black  Wolf  away 
from  the  Great  Spirit.  The  Charm  was  shaped 
like  this.  [Makes  in  the  air  with  his  calumet  the 
sign  of  the  cross. 


144  WISCONSIN  PLAYS 

RED    WING 

Show  us  again. 

BLACK    WOLF 

Like  this.  [Puts  left  hand  horizontally  across 
stem  of  calumet  held  vertically  in  right  hand.] 
It  is  called  a  cross. 

RED  WING 

A  cross !  The  white  man's  medicine-man  stole 
the  Indian's  sign  of  the  Earth-Maker ! 

BLACK    WOLF 

It  was  shaped  like  the  Indian  sign  of  the  Earth- 
Maker;  but  the  sign  of  the  Earth-Maker  it  was 
not  indeed.  It  was  the  white  man's  totem.  I 
saw  it  on  the  top  of  their  Big  Medicine  Lodge 
where  the  bell  rings  at  the  sunrise.  That  is  the 
totem  that  makes  the  white  men  strong. 

RED  WING 
How  does  it  make  them  strong? 

BLACK    WOLF 

The  white  men  put  their  bearded  lips  upon  it, 
and  the  white  women  wear  it  on  the  bosoms  that 
nurse  the  white  men's  children. 


GLORY  OF  THE  MORNING       145 

RED    WING 

What  does  that  do? 

BLACK    WOLF 

Black  Wolf  is  wise  in  the  history  of  his  people; 
the  lore  of  the  white  men  he  will  not  learn.  But 
ten  summers  after,  it  was  that  medicine-man  who 
came  to  the  village  and  took  Half  Moon  and 
Glory  of  the  Morning,  with  the  two  little  pa 
pooses,  out  before  the  lodge  and  married  them  over 
again  in  the  white  man's  way — and  he  had  again 

the  white  man's  totem  in  his  hand. 

• 

GLORY    OF    THE    MORNING 

[Sitting  again  to  her  sewing. ~\  Black  Wolf, 
the  Pere  La  Rou  was  kind.  He  played  with  my 
babies  down  there  on  the  sand. 

BLACK    WOLF 

Glory  of  the  Morning,  three  years  before  that, 
the  village  danced  the  Dance-of-the-Calumet  at 
your  wedding.  Myself  I  stood  in  the  midst  and 
pointed  with  the  calumet  to  the  four  skies. 

GLORY    OF    THE    MORNING 

And  I  was  so  happy.  I  was  indeed  the  glory 
of  the  morning  then. 


146  WISCONSIN  PLAYS 

OAK    LEAF 

0  if  I  had  only  been  there,  Mother ! 

BLACK    WOLF 

Good  will  not  come  forever  to  the  Indian  who 
is  married  in  the  white  man's  way. 

GLORY    OF    THE    MORNING 

Black  Wolf,  you  must  not  longer  remind  me 
of  that.     My  husband  wished  it. 

RED  WING 
Tell  me  why  he  wished  it. 

GLORY    OF    THE    MORNING 

1  am  not  ashamed.     Black  Wolf,  it  was  be 
cause  he  loved  his  children.     It  brought  him  no 
gain,  no  more  skins  than  before.     They  say  the 
other  traders  run  away  from  their  Indian  chil 
dren,   because  Frenchmen  think  in  their  hearts 
that  marriage  in  the  Indian  way  does  not  bind  the 
white  man,  when  the  white  man  grows  weary. 
He  asked  me  to  come  before  the  Pere  La  Rou. 
A  squaw  must  obey  her  husband.     That  is  the 
Indian  way  too. 

BLACK    WOLF 

Good  will  not  come  forever  to  the  Indian  who 
is  married  in  the  white  man's  way. 


GLORY  OF  THE  MORNING       147 

GLORY    OF    THE    MORNING 

Black  Wolf,  how  strange  you  are.  You  have 
seen  not  gladly  the  Indian's  skins  in  the  Half 
Moon's  pack  when  he  goes  forth,  nor  the  white 
man's  presents  in  the  Half  Moon's  pack  when  he 
returns.  But  to  the  Half  Moon  himself  often 
and  often  you  have  given  your  right  hand.  You 
are  good;  you  told  me  he  was  coming  back  to 
day. 

BLACK    WOLF 

He  is  coming  back — yet  even  when  he  shall  be 
gone  forever,  the  young  braves  will  still  let  the 
white  man  give  new  names  to  the  hills  and  the 
springs  and  the  rivers  and  the  trees.  [Pause.] 
Many  years  has  Black  Wolf  seen  the  autumn  haze 
stealing  nearer  and  nearer  over  the  old  Hunting- 
grounds  of  our  people;  many  years  has  Black 
Wolf  listened  to  stories,  as  he  counted  the  fall 
ing  of  the  leaves.  But  the  young  braves  and  the 
squaws  laugh  at  my  dreams.  Last  night,  when 
the  camp-fires  were  low  before  the  hundred  lodges, 
and  deep  sleep  was  on  the  dogs,  and  there  was  no 
sound  but  the  dropping  of  the  acorns  and  the 
splash  of  the  waves  on  the  beach,  Black  Wolf 
saw  the  Half  Moon  coming  back.  He  has  told 
you.  True,  but  then  the  dream  changed.  [More 


148  WISCONSIN  PLAYS 

solemnly. ,]  It  seemed  to  be  at  the  time  of  the 
Evening  Star.  Over  the  village  hung  a  huge  yel 
low  cloud.  Shaped  like  the  Great  Eagle  Mound 
of  our  people.  And  a  mighty  wind  blew  in 
heaven.  And  the  cloud  was  driven  to  the  west. 
And  the  wings — 

[Enter  THE  CHEVALIER  from  the  trail, 
dressed  like  a  trapper  "with  pack  and  gun, 
but  wearing  a  military  jacket  and  cap. 
GLORY  OF  THE  MORNING  sees  him  first, 
and  jumping  up  "with  a  cry  buries  her  head 
on  his  shoulder. 

GLORY    OF    THE    MORNING 

Half  Moon! 

[He  gently  releases  himself  and  takes  her  by 
the  right  hand.  She  still  has  the  buck 
skin  shirt  in  her  left. 

THE    CHEVALIER 

It  seems  good  to  see  you  again,  Glory  of  the 
Morning. 

[The  children  have  jumped  up.  As  he  turns 
to  embrace  them,  she  stands  puzzled,  sus 
picious,  and  hurt,  and  withdraws  a  little 
toward  RED  WING. 


GLORY  OF  THE  MORNING       149 

OAK    LEAF 

O  Father,  Black  Wolf  said  you  would  come 
to-day. 

THE    CHEVALIER 

{Loosening  gun  and  packs  from  his  shoulders.] 
I  have  come  back  to  Oak  Leaf  to-day. 

OAK    LEAF 

0  I'm  so  glad. 

[She  takes  care  of  her  father's  gun  and  packs. 

THE    CHEVALIER 

[Shaking  hands  with  BLACK  WOLF.]  Greet 
ings,  Black  Wolf.  I  know  you've  been  taking 
good  care  of  Oak  Leaf.  [Turning  to  RED 
WING.]  You  scamp,  come  here. 

GLORY    OF    THE    MORNING 

We've  been  watching  for  your  canoe  over  the 
water  all  the  long  afternoon. 

THE    CHEVALIER 

1  took  the  North  Elk  Trail  from  Bisonnette's 
trading-post.     Bisonnette  sends  greetings  to  you, 
Black  Wolf.     He  wants  to  be  friends  with  the 
Black  Wolf.      [Putting  forth  an  arm  to  snatch 
RED  WING.]      Come  here,  I  say.     Have  you  kept 


150  WISCONSIN  PLAYS 

the  Half  Moon's  wigwam  stocked  with  fish  and 
game  for  Oak  Leaf? 

[RED  WING  avoids  his  father's  arm. 

GLORY    OF    THE    MORNING 

[Pointing  to  the  squirrels.}  Red  Wing  has 
done  his  morning's  work. 

THE    CHEVALIER 

You  are  a  mighty  hunter.  The  white  men  will 
want  to  send  you  to  shoot  the  buffalo  for  them 
along  the  banks  of  the  Wisconsin. 

GLORY    OF    THE    MORNING 

Why  do  you  come  thus,  Half  Moon? — like 
.  .  .  like  a  Frenchman. 

THE    CHEVALIER 

O  this  gay  shirt!  Why,  I've  been  putting  on 
the  white  man's  war  paint  and  feathers.  {Turn 
ing  to  RED  WING.]  And  how  many  squirrels  did 
you  get? 

RED  WING 
[Shortly.]     Six,  Half  Moon. 

THE    CHEVALIER 

Half  Moon! — you  rascal,  you  have  forgotten 
altogether  to  be  my  son. 


GLORY  OF  THE  MORNING       151 

GLORY    OF    THE    MORNING 

The  white  man's  war  paint — but  the  roads  are 
open.  There  is  the  white  man's  peace  in  the  coun 
try  of  the  Four  Lakes. 

THE    CHEVALIER 

The  Four  Lakes  is  not  the  world. 

GLORY    OF    THE    MORNING 

It  is  our  world. 

THE    CHEVALIER 

Yes,  and  I  will  not  jest.  I  thought  you  would 
like  it.  I  put  it  on  partly  to  celebrate  my  com 
ing  home. 

BLACK    WOLF 

The  Half  Moon  wishes  to  astonish  the  Indian 
eyes  with  the  glory  of  the  white  man. 

THE    CHEVALIER 

That's  it  too,  Black  Wolf. 

BLACK    WOLF 

[Striding  off  'with  folded  arms  toward  the  wa 
ters  in  the  background.]  Black  Wolf  is  not  as 
tonished. 


152  WISCONSIN  PLAYS 

OAK    LEAF 

0  Mother's  afraid  of  Father  in  his  new  dress. 
I  think  it's  gorgeous  as  the  rising  sun.      [Counting 
the  buttons.]     One,  two,  three,  four,  five  .  .  . 
my !  give  me  that  one ! 

GLORY    OF    THE    MORNING 

You  say  you  took  the  North  Elk  Trail  .  .  . 
you  never  did  before. 

THE    CHEVALIER 

No,  never  before. 

GLORY    OF    THE    MORNING 

Next  time  I  will  take  the  children  and  watch 
from  Acorn  Hill. 

THE    CHEVALIER 

But  indeed  I  never  will  come  by  the  North  Elk 
Trail  again. 

GLORY    OF    THE    MORNING 

1  am  glad;  you  know  how  often  I've  waited  for 
you  over  the  lake.     That  is  why  you  let  me  set 
up  the  wigwam  off  here  from  the  long-houses  of 
the  village. 

THE    CHEVALIER 

But  I  had  business  to  close  with  Bisonnette. 


GLORY  OF  THE  MORNING       153 

GLORY    OF    THE    MORNING 

Half  Moon,  I  too  wanted  to  celebrate  your 
home-coming.  Put  on  the  new  buckskin  shirt. 

[She  holds  it  up. 

THE    CHEVALIER 

[Sitting  down  on  a  stone. .]  Deft  fingers  made 
that  embroidery. 

GLORY    OF    THE    MORNING 

The  fingers  of  Glory  of  the  Morning. 

THE    CHEVALIER 

But  I  can't  wear  it  to-night. 

BLACK    WOLF 

[Seated  by  the  waters,  scarcely  turning  his 
head.}  The  Half  Moon  will  celebrate  his  re 
turn  to  the  Indian  country  by  wearing  the  white 
man's  coat  ...  for  the  roads  are  open. 

GLORY    OF    THE    MORNING 

The  one  night  of  all  nights  it  would  please  me 
to  see  it  on  you,  Half  Moon. 

THE    CHEVALIER 

I'd  like  to  please  you,  Glory  of  the  Morning 
.  .  .  indeed  I  would. 


154  WISCONSIN  PLAYS 

OAK    LEAF 

Anyway,  I  like  you  better  in  the  white  man's 
shirt;  Red  Wing  does  too. 

RED  WING 

[To  OAK  LEAF  and  BLACK  WOLF.]  Yes. 
The  buckskin  of  the  Winnebago  is  for  the  shoul 
ders  of  the  Winnebago. 

[He  squats  and  begins  chipping  two  stones 
on  each  other  with  right  and  left  fist. 

GLORY    OF    THE    MORNING 

[On  a  knee.]  Half  Moon,  put  on  the  buck 
skin  shirt  to-night. 

THE    CHEVALIER 

I  cannot.  The  Frenchman  who  travels  in  the 
war-dress  given  him  by  his  King  dare  not  put  it 
off  till  his  work  is  done. 

GLORY    OF    THE    MORNING 

You  are  making  a  white  man's  jest. 

THE    CHEVALIER 

No.  [Rising.}  I  must  paddle  over  to  Pierre's 
block-house,  Pierre's  little  jack-knife  trading-post, 
in  the  Panther  Woods  to-night. 


GLORY  OF  THE  MORNING       155 

GLORY    OF    THE    MORNING 

You  have  messages  for  Pierre  from  the  white 
man's  town? 

THE    CHEVALIER 

And  business  to  close  and  a  bundle  of  ribbons 
and  jewels  for  him. 

OAK    LEAF 

And  some  for  me  too.     You  promised. 

THE    CHEVALIER 

Some  for  Oak  Leaf  too. 

OAK    LEAF 

[Reaching  for  his  things.}     O  let  me  see  them 
now. 

THE    CHEVALIER 

They  are  in  with  Pierre's  packages.     To-mor 
row  will  be  time  enough. 

GLORY    OF    THE    MORNING 

We  will  watch  in  the  morning  as  you  paddle 
back,  and  pretend  that  you  hadn't  come  to-day. 

THE    CHEVALIER 

You  need  not  watch  in  the  morning. 


156  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

We  will  watch,  as  to-day,  in  the  afternoon. 

THE    CHEVALIER 

You  need  not  watch  in  the  afternoon. 

GLORY    OF    THE    MORNING 

Our  eyes  will  follow  the  canoe  as  it  comes  glid 
ing  back  on  the  shining  path  of  the  rising  moon. 

THE    CHEVALIER 

It  will  not  come  back  with  the  rising  moon. 

GLORY    OF    THE    MORNING 

Not  even  with  the  rising  moon? 

BLACK    WOLF 

[Significantly  from  his  seat  in  the  background 
by  the  waters.]  His  canoe  will  not  come  back 
with  the  rising  moon. 

THE    CHEVALIER 

{With  determination,  taking  her  hand  not  un 
kindly.]  Glory  of  the  Morning,  I  fear  I  shan't 
paddle  back  to-morrow. 

OAK    LEAF 

But  my  ribbons  and  jewels,  Father"? 


GLORY  OF  THE  MORNING       157 

THE    CHEVALIER 

You  shall  have  them. 

GLORY    OF    THE    MORNING 

Glory  of  the  Morning  has  learned  how  to  wait. 
I  will  watch  the  day  after. 

THE    CHEVALIER 

[Still  holding  her  hand.}  No — nor  the  day 
after. 

GLORY    OF    THE    MORNING 

[Withdrawing  her  hand.}  Then  .  .  .  then  I 
must  wait  in  the  snowdrifts  and  the  north  wind 
while  you  are  gone  again  to  the  town  by  the  Big 
River  .  .  .  gone  all  the  wild  winter. 

THE    CHEVALIER 

[With  a  touch  of  feeling.}  All  winter,  Glory 
of  the  Morning,  and  all  summer. 

GLORY    OF    THE    MORNING 

All  winter  and  all  summer — until  the  autumn 
leaves  fall  again. 

THE    CHEVALIER 

I  think  I  shall  not  be  back  when  the  autumn 
leaves  fall. 


158  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

Is  ...  is  that  good-bye,  Half  Moon? 

THE    CHEVALIER 

I  must  take  the  white  man's  road  again,  Glory 
of  the  Morning. 

BLACK    WOLF 

Take  the  white  man's  road — the  road  is  open. 

GLORY    OF    THE    MORNING 

When  the  Half  Moon  is  weary  of  the  prettier 
squaw  among  the  white  women  in  the  town  by  the 
Big  River,  he  will  come  back  to  Glory  of  the 
Morning. 

THE    CHEVALIER 

You  need  not  be  jealous,  Glory  of  the  Morn 
ing.  That  is  not  it. 

GLORY    OF    THE    MORNING 

I  am  not  jealous.     I  love  Half  Moon. 

THE    CHEVALIER 

My  life  with  the  tribe  of  the  Four  Lakes  ir 
done. 

GLORY    OF    THE    MORNING 

Done? 


GLORY  OF  THE  MORNING       159 

THE    CHEVALIER 

The  barter  is  over. 

GLORY    OF    THE    MORNING 

[Quietly.}     The  old  wigwam  was  only  a  place 
for  barter. 

THE    CHEVALIER 

And  my  business  in  the  town  by  the  Big  River 
is  done  too:     I  shall  not  trade  any  more  skins. 

RED    WING 

Nor  iron  tomahawks ! 

GLORY    OF    THE    MORNING 

Neither  in  the  country  of  the  Four  Lakes  nor 
in  the  town  by  the  Big  River. 

THE    CHEVALIER 

I  am  going  back  over  the  Big  Sea  Water. 

GLORY    OF    THE    MORNING 

[Half  to  herself.]     Over  the  Big  Sea  Water 
is  beyond  the  Morning  Star. 

THE    CHEVALIER 

I  have  liked  this  wild  life. 


160  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

You  have  returned  singing  to  the  country  of 
the  Four  Lakes  many  autumns. 

THE    CHEVALIER 

But  one  cannot  sing  forever.  New  duties  have 
suddenly  come  to  the  Chevalier. 

GLORY    OF    THE    MORNING 

New  duties'? 

THE    CHEVALIER 

My  father  has  died.  The  great  house  where  I 
was  born  and  grew  up  now  belongs  to  me.  And 
there  is  fighting  in  my  country,  and  I  have  to  lay 
aside  the  buckskin  shirt  for  this  white  man's  war- 
coat.  The  Great  King  calls  me  home. 

GLORY    OF    THE    MORNING 

Home  .  .  .  home  beyond  the  Morning  Star. 

BLACK    WOLF 

[Rising,  but  remaining  in  the  background  by 
the  waters.]  Where  the  Great  Spirit  gave  lakes 
and  hills  to  the  white  race— even  as  he  gave  these 
lakes  and  hills  to  the  Winnebago. 


GLORY  OF  THE  MORNING       161 

THE    CHEVALIER 

[To  GLORY  OF  THE  MORNING.]  I've  grown 
fond  of  these  lakes  and  hills  .  .  .  fond  of  the  old 
wigwam  and  you. 

GLORY    OF    THE    MORNING 

You  have  lived  here  many  winters. 

THE    CHEVALIER 

Many  pleasant  winters ;  but  you  need  not  work 
for  me  any  longer,  Glory  of  the  Morning. 

GLORY    OF    THE    MORNING 

To  have  the  Half  Moon  to  work  for  has  been 
like  the  sun  and  the  air. 

THE    CHEVALIER 

I  fear  it  was,  after  all,  only  a  piece  of  me  that 
belonged  here. 

GLORY    OF    THE    MORNING 

It  was  enough  for  Glory  of  the  Morning. 

THE    CHEVALIER 

There  is  no  help  for  it.  There  is  more  to  a 
man's  life  than  a  woman — you  must  try  to  under 
stand. 


162  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

A  squaw  cannot  understand.  That's  what  they 
both  say — the  man  of  the  Pale  Faces  and  the  man 
of  the  Winnebago. 

OAK    LEAF 

0  Father,  you  must  take  Red  Wing  and  me 
with   you   beyond   the    Big   Sea   Water.     Take 
Mother  too. 

THE    CHEVALIER 

[To  OAK  LEAF.]  No,  Oak  Leaf,  your  mother 
would  not  be  very  happy,  I  think,  over  there  in 
the  big  stone  lodge,  the  Chevalier's  chateau,  with 
its  high  towers  and  its  wide  rooms  and  its  long 
halls. 

GLORY    OF    THE    MORNING 

1  would  sweep  it. 

THE    CHEVALIER 

[To  GLORY  OF  THE  MORNING.]  But  it's 
longer  than  the  long-houses  of  the  Winnebago; 
taller  than  the  Half  Moon's  wigwam;  wider  than 
Pierre's  block-house  over  yonder — too  big  for 
Glory  of  the  Morning  to  sweep. 


GLORY  OF  THE  MORNING       163 

GLORY    OF    THE    MORNING 

I  would  boil  the  buffalo  meat,  and  scour  the 
wooden  bowls  and  the  lead  spoons. 

THE    CHEVALIER 

Thirty  braves  will  often  eat  in  the  hall  with 
the  Chevalier.  And  yet  not  one  will  ever  taste 
the  buffalo  meat,  nor  ever  hold  the  wooden  bowl 
between  his  knees  nor  the  lead  spoon  in  his  hand. 

GLORY    OF    THE    MORNING 

I  would  pull  the  weeds  from  round  the  door. 

THE    CHEVALIER 

But  you  could  not  trim  the  shrubs  in  the  parks 
and  scatter  the  gravel  on  the  garden  paths  and 
clean  the  marble  basin  of  the  fountain  and  burnish 
the  brazen  lamp  before  the  gate. 

GLORY    OF    THE    MORNING 

You  have  often  told  me  of  the  fountain  and  the 
brazen  lamp.  But  some  one  must  plant  the  corn 
and  gather  the  wild  rice. 

THE    CHEVALIER 

The  braves  in  the  country  of  the  Great  King 
do  not  let  their  wives  plant  the  corn — and  the  wild 


164  WISCONSIN  PLAYS 

rice  does  not  grow  in  the  country  of  the  Great 
King. 

GLORY    OF    THE    MORNING 

I  would  sew  the  shirt. 

[Half  pleadingly  she  holds  up  the  buckskin 
shirt. 

THE    CHEVALIER 

But  I  could  not  wear  it  either  before  the  braves, 
or  the  grand  ladies,  or  the  Great  King. 

GLORY    OF    THE    MORNING 

There  would  be  nothing  for  me  to  do. 

THE    CHEVALIER 

Nothing.     And  you  would  not  be  happy  with 
the  grand  ladies. 

GLORY    OF    THE    MORNING 

No. 

THE    CHEVALIER 

Because  they  would  smile  at  your  pretty  brown 
arms  and  brown  neck. 

GLORY    OF    THE    MORNING 

And  the  Chevalier  would  not  be  pleased. 

THE    CHEVALIER 

Indeed,  I  would  not. 


GLORY  OF  THE  MORNING       165 

GLORY    OF    THE    MORNING 

The  woman  of  the  Winnebago  will  never  be 
mocked  by  the  squaws  in  the  country  of  the  Great 
King. 

THE    CHEVALIER   , 

You  are  proud  and  strong.  I  knew  you 
wouldn't  cry  like  the  other  squaws. 

GLORY    OF    THE    MORNING 

No.     The  daughter  of  Big  Canoe  will  not  cry. 

THE    CHEVALIER 

Yet  I've  been  dreading  this  hour.  It  hurts  me 
too,  Glory  of  the  Morning. 

GLORY    OF    THE    MORNING 

But  you  have  obeyed  the  Great  King. 

THE    CHEVALIER 

I  have  obeyed  the  Great  King. 

BLACK    WOLF 

Black  Wolf  has  known  that  the  Half  Moon 
would  some  day  hear  voices  calling  from  beyond 
the  Big  Sea  Water. 

RED    WING 

[Risiftff.]  Bid  him  take  Pierre,  the  trapper* 
Let  them  gather  up  the  iron  tomahawks  from  the 


166  WISCONSIN  PLAYS 

village    and    give    them    back    to    the    Great 
King. 

[He  turns  his  back  on  THE  CHEVALIER. 

BLACK    WOLF 

There  would  come  another  Pierre,  and  yet  an 
other.  The  Half  Moon  goes,  but  the  winds  will 
blow  evermore  out  of  the  east. 

OAK    LEAF 

Father,  Father  Half  Moon,  the  Great  King 
shall  not  take  you  away  from  Oak  Leaf. 

GLORY    OF    THE    MORNING 

[To  the  children.}  The  Great  King  knows  not 
nor  cares  that  I  gave  him  Oak  Leaf  and  Red 
Wing. 

THE    CHEVALIER 

He  shall  know. 

GLORY    OF    THE    MORNING 

It  would  matter  nothing  to  him. 

THE    CHEVALIER 

I  will  tell  him  that  you  were  their  mother. 

GLORY    OF    THE    MORNING 

He  would  not  bid  you  return  to  your  children. 


GLORY  OF  THE  MORNING       167 

THE    CHEVALIER 

No.     But  he  will  be  good  to  the  children. 

OAK    LEAF 

He  will  send  us  presents  from  over  the  Big 
Sea  Water — a  scarlet  dress  for  Oak  Leaf,  a  long 
shining  knife  with  jewels  for  Red  Wing. 

THE    CHEVALIER 

yes.     He  will  give  you  presents. 

GLORY    OF    THE    MORNING 

The  children  will  not  need  his  presents,  Half 
Moon. 

THE    CHEVALIER 

Let  the  children  decide  that,  Glory  of  the  Morn 
ing. 

RED  WING 
Let  the  Great  King  keep  his  long  shining  knife. 

BLACK    WOLF 

The  Great  King  will  send  no  presents. 

THE    CHEVALIER 

Surely,  for  the  sake  of  Half  Moon,  his  friend, 
and  the  father  of  the  Half  Moon's  children. 


168  WISCONSIN  PLAYS 

i 

BLACK    WOLF 

[Advancing  a  step.]  The  white  man  gives  no 
presents  to  the  Indians,  except  for  the  sake  of  gain, 
and  the  Great  King  wants  not  the  friendship  of 
the  young  children  of  the  Winnebago. 

THE    CHEVALIER 

You  do  not  know  the  goodness  of  the  Great 
King. 

BLACK    WOLF 

[Striding  gravely  toward  him.\  Half  Moon, 
you  go — then,  go  like  a  man.  Talk  straight  into 
the  Indian's  eyes.  Say  good-bye  to  the  Indian 
squaw — and  the  Indian  children.  Say  good-bye 
to  Black  Wolf.  Then  turn  your  back  on  the 
Four  Lakes  and  go  like  a  man. 

THE    CHEVALIER 

Brother  Black  Wolf,  go  like  a  man? 

BLACK    WOLF 

Yes,  and  tell  no  white  man's  lies  to  ease  the 
Indian  heart. 

THE    CHEVALIER 

I  speak  the  truth.  The  Great  King  will  give 
presents  to  the  children  of  Glory  of  the  Morning. 


GLORY  OF  THE  MORNING       169 

GLORY    OF    THE    MORNING 

You  think  that  you  cannot  forget  Glory  of  the 
Morning  when  beyond  the  Big  Sea  Water. 

THE    CHEVALIER 

The  children  will  keep  me  from  forgetting. 

GLORY    OF    THE    MORNING 

[With  a  voice  that  is  no  echo  of  his.]     The 
children  will  keep  me  from  forgetting. 

THE    CHEVALIER 

I  shall  be  glad  to  think  so. 

GLORY    OF    THE    MORNING 

But  not  even  presents  from  the  Great  King  will 
keep  them  from  forgetting  the  Half  Moon. 

THE    CHEVALIER 

They  will  not  forget  him. 

GLORY    OF    THE    MORNING 

Perhaps  not  ...  if  their  mother  can  open  her 
lips  to  speak  to  them  of  him. 

THE    CHEVALIER 

Glory  of  the  Morning,  I  will  take  care  of  the 
children. 


170  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

Take  care  of  the  children? 

THE    CHEVALIER 

I  will  take  care  of  the  children.  They  are  both 
young.  They  can  learn. 

GLORY    OF    THE    MORNING 

They  can  learn? 

THE    CHEVALIER 

Oak  Leaf  is  already  more  than  half  a  white 
girl ;  and  Red  Wing  is  half  white  in  blood,  if  not 
in  manners-^-£Yz  ira. 

GLORY    OF    THE    MORNING 

[Beginning  to  realise.]  No,  no.  They  arc 
mine! 

THE    CHEVALIER 

[Reaching  out  his  arms  to  take  them.]     No. 

GLORY    OF    THE    MORNING 

They  are  mine,  they  are  mine! 

THE    CHEVALIER 

The  Great  King  will  give  them  presents. 

GLORY    OF    THE    MORNING 

No,  no! 


GLORY  OF  THE  MORNING       171 

THE    CHEVALIER 

He  will  lay  his  hands  on  their  heads. 

GLORY    OF    THE    MORNING 

He  shall  not,  he  shall  not ! 

THE    CHEVALIER 

I  have  said  that  I  will  tell  him  you  were  theil 
mother. 

GLORY    OF    THE    MORNING 

I  am  their  mother — I  am  their  mother. 

THE    CHEVALIER 

And  he  will  praise  Glory  of  the  Morning. 

GLORY    OF    THE    MORNING 

They  are  mine,  they  are  mine ! 

THE    CHEVALIER 

I  have  come  to  take  them  back  with  me  over 
the  Big  Sea  Water. 

GLORY    OF    THE    MORNING 

[The  buckskin  shirt  falls  from  her  hands  as  she 
spreads  her  arms  and  steps  between  him  and  her 
children.}  No,  no,  no!  They  are  not  yours! 
They  are  mine!  The  long  pains  were  mine! 
Their  food  at  the  breast  was  mine!  Year  after 


172  WISCONSIN  PLAYS 

year  while  you  were  away  so  long,  long,  long,  I 
clothed  them,  I  watched  them,  I  taught  them  to 
speak  the  tongue  of  my  people.  All  that  they 
are  is  mine,  mine,  mine ! 

THE    CHEVALIER 

[Drawing  OAK  LEAF  to  him  and  holding  up 
her  bare  arm.]  Is  that  an  Indian  skin1?  Where 
did  that  colour  come  from1?  I'm  giving  you  the 
white  man's  law. 

GLORY    OF    THE    MORNING 

[Struggling  with  the  CHEVALIER.]  I  do  not 
know  the  white  man's  law.  And  I  do  not  know 
how  their  skin  borrowed  the  white  man's  colour. 
But  I  know  that  their  little  bodies  came  out  of  my 
own  body — my  own  body.  They  must  be  mine, 
they  shall  be  mine,  they  are  mine ! 

[The  CHEVALIER  throws  her  aside  so  that  she 
falls. 

THE    CHEVALIER 

Glory  of  the  Morning,  the  Great  Spirit  said 
long  before  you  were  born  that  a  man  has  a  right 
to  his  own  children.  The  Great  Spirit  made 
woman  so  that  she  should  bring  him  children. 
Black  Wolf,  is  it  not  so^ 


GLORY  OF  THE  MORNING       173 

BLACK    WOLF 

It  is  so. 

THE    CHEVALIER 

[To  GLORY  OF  THE  MORNING,  standing  aparf.] 
Black  Wolf  is  the  wise  man  of  your  people. 

BLACK    WOLF 

And  knows  the  Great  Spirit  better  than  the 
white  men. 

THE    CHEVALIER 

Indeed,  I  think  so. 

BLACK    WOLF 

And  the  Great  Spirit  made  the  man  so  that  he 
should  stay  with  the  squaw  who  brought  him  the 
children, — except  when  off  hunting  meat  for  the 
wigwam  or  on  the  warpath  for  the  tribe. 

GLORY    OF    THE    MORNING 

\With  some  spirit  and  dignity. ,]  The  white 
man  Half  Moon  has  said  that  he  believes  Black 
Wolf. 

THE    CHEVALIER 

The  white  man  has  not  come  to  argue  with  the 
Red  Skin,  but  to  take  the  white  man's  children. 


174  WISCONSIN  PLAYS 

BLACK    WOLF 

[In  his  role  of  practical  wisdom.]  The  Half 
Moon  will  listen  to  Black  Wolf. 

THE    CHEVALIER 

[With  conciliation.]  If  the  Black  Wolf 
speaks  wisely. 

BLACK    WOLF 

Half  Moon,  Red  Wing  and  Oak  Leaf  have 
grown  up  with  the  birch  tree  and  the  wild  rose. 
They  have  played  the  moccasin  game  before  the 
wigwam  with  the  children  of  the  village.  They 
have  caught  the  frogs  and  the  turtles  on  the  rocks 
in  the  cove.  They  have  paddled  the  canoe  in  the 
sun  through  the  rice  stalks  and  the  flag  leaves. 
And  under  the  full  moon  they  have  heard  the 
singing  of  the  whippoorwill.  They  have  kissed 
Glory  of  the  Morning,  and  listened  to  Black 
Wolf's  stories. 

THE    CHEVALIER 

I  can  tell  them  stories. 

BLACK    WOLF 

Their  roots  are  deep  in  the  black  earth  of  their 
Winnebago  home.  They  have  grown  tall  under 
the  rainbow,  under  the  warm  and  glittering  show- 


GLORY  OF  THE  MORNING       175 

ers  of  the  Winnebago  skies.  And  the  snows  of 
the  Four  Lakes  have  made  them  hardy,  and  the 
winds  have  made  them  free. 

THE    CHEVALIER 

The  day  draws  toward  evening,  Black  Wolf. 

BLACK    WOLF 

Neither  Oak  Leaf  nor  Red  Wing  is  a  mere 
papoose  to  be  snatched  from  the  mother's  back. 

THE    CHEVALIER 

The  Half  Moon  shares  Black  Wolf's  pride  in 
the  Half  Moon's  children. 

BLACK    WOLF 

{Pointing  to  the  discarded  cradle-board.] 
The  mother  long  since  loosened  the  thongs  that 
bound  them  to  the  cradle-board,  propped  against 
the  wigwam. 

THE    CHEVALIER 

And  when  she  unbound  the  thongs  of  the 
cradle-board,  they  learned  to  run  toward  their 
father. 

BLACK    WOLF 

But  invisible  thongs  may  now  bind  them  round, 
which  even  the  Half  Moon  might  not  break,  with- 


376  WISCONSIN  PLAYS 

out  rending  the  flesh  from  their  bones  and  pre 
paring  sorrows  and  cares  for  his  head. 

THE    CHEVALIER 

Let  us  have  done,  Black  Wolf. 

BLACK    WOLF 

Thongs  which  none  could  break,  unless  Oak 
Leaf  and  Red  Wing  themselves  should  first  un 
bind  them.  [To  the  children.]  Will  Oak  Leaf, 
will  Red  Wing  unbind  the  mystic  thongs  of  clan 
and  home?  Let  the  children  decide. 

THE    CHEVALIER 

Black  Wolf  is  wise.  My  children  are  babes  no 
longer.  They  can  think  and  speak. 

BLACK    WOLF 

Let  them  speak. 

THE    CHEVALIER 

They  know  who  has  brought  them  good  gifts 
from  White  Man's  Land  and  romped  with  them 
on  the  buffalo  robe  many  a  winter  morning. 
They  know  who  can  make  them  happy. 

GLORY    OF    THE    MORNING 

Yes,  I  could  not  romp  with  them  all  the  morn 
ing — for  the  Half  Moon  had  to  be  fed.  I  could 


GLORY  OF  THE  MORNING       177 

not  make  them  many  gifts — for  the  Half  Moon 
had  to  be  clothed. 

THE    CHEVALIER 

Glory  of  the  Morning,  I've  been  good  to  you 
— I  never  beat  you,  as  Big  Canoe  used  to  beat 
your  mother — I  never  played  with  the  other 
squaws  in  the  village,  like  Little  Turtle  or  Spec 
kled  Snake.  And  I  want  to  part  fairly.  Black 
Wolf  is  right.  Let  the  children  decide. 

GLORY    OF    THE    MORNING 

Yes.  {With  a  voice  that  is  no  echo  of  his.] 
Let  the  children  decide. 

BLACK    WOLF 

Oak  Leaf,  do  you  want  to  leave  Black  Wolf 
and  Glory  of  the  Morning  to  go  with  Half  Moon 
over  the  Big  Sea  Water*? 

OAK    LEAF 

[Looking  up  at  her  mother.'}     O  do  I,  Mother? 

GLORY    OF    THE    MORNING 

I  cannot  tell.     I  love  you,  Oak  Leaf. 

OAK    LEAF 

[Withdrawing  toward  her  father. ,]  Mother, 
make  Father  Half  Moon  take  you  with  us  too. 


178  WISCONSIN  PLAYS 

GLORY    OF    THE    MORNING 

The  Half  Moon  has  told  you  that  he  no  longer 
needs  Glory  of  the  Morning. 

THE    CHEVALIER 

[Taking  OAK  LEAF'S  hand  caressingly.]  Oak 
Leaf,  you  are  too  beautiful  to  wither  and  wrinkle 
here  digging  and  grinding  and  stitching,  though 
the  handsomest  brave  of  the  Winnebago  bought 
you  for  his  squaw.  Beyond  the  Big  Sea  Water 
you  won't  have  to  dig  and  grind  and  stitch.  And 
sometime  a  noble  brave  of  my  nation  will  come 
in  a  blue  suit  with  gold  braid  to  the  chateau  and 
say:  "I  love  Oak  Leaf;  will  you  give  Oak  Leaf 
tome?' 

OAK    LEAF 

[Gladly.]     And  you'll  give  me  to  him,  Father! 

THE    CHEVALIER 

If  he  promises  you  all  that  I  bid  him. 

OAK    LEAF 

You  will  bid  him  to  do  many  good  things  for 
Oak  Leaf. 

THE    CHEVALIER 

Yes.  To  give  you  fine  dresses,  and  necklaces, 
with  festivals  and  dances,  and  to  be  always  wise 
and  gentle. 


GLORY  OF  THE  MORNING       179 

GLORY    OF    THE    MORNING 

My  daughter,  Black  Wolf  has  told  us  that  good 
will  not  come  forever  to  the  Indian  who  is  mar 
ried  in  the  white  man's  way. 

THE    CHEVALIER 

[Petting  her  hand.]  This  hand,  which  your 
father  will  sometime  put  into  the  hand  of  a  brave 
in  the  country  of  the  Great  King,  is  not  the  hand 
of  an  Indian.  And  it  is  too  soft  and  pretty  for 
the  rude  lands  of  the  wild  rice.  [Drawing  her.] 
Come,  child. 

[OAK  LEAF  leans  against  her  father,  with  a 
half  frightened  glance  at  GLORY  OF  THE 
MORNING. 

THE  CHEVALIER 
You  see,  Glory  of  the  Morning. 

GLORY    OF    THE    MORNING 

[With  restraint.}  I  will  say  good-bye  to  Oak 
Leaf. 

BLACK    WOLF 

Red  Wing,  are  you  going  with  your  sister  and 
with  Half  Moon  over  the  Big  Sea  Water? 


i8o  WISCONSIN  PLAYS 

RED    WING 

Sister,  are  you  really  going1? — You  are  always 
making  believe. 

OAK    LEAF 

0  Father, — tell  him. 

THE    CHEVALIER 

She  is  going,  Red  Wing. 

RED    WING 

There  is  nothing  for  me  beyond  the  Big  Sea 
Water. 

THE    CHEVALIER 

Over  there  your  father  is  a  famous  chief,  and 
you  might  wear  a  sword  and  fight  beside  the 
Great  King. 

RED  WING 

1  shall  not  fight  beside  the  Great  King;  and  I 
shall  not  wear  the  white  man's  sword. 

THE    CHEVALIER 

[Takes  his  arm,  coaxingly.~\  Little  chief,  why 
not? — why  not,  my  son? 

GLORY    OF    THE    MORNING 

[Coldly  and  firmly.}     Because  he  is  my  son. 


GLORY  OF  THE  MORNING       181 

RED    WING 

[Standing  off;  to  the  CHEVALIER  with  boyish 
pride. ~\  Because  I  am  a  Winnebago. 

THE    CHEVALIER 

[Almost  angry.}  You  are  going  to  come  with 
me.  [Almost  forgetting  that  those  to  whom  he 
speaks  are  in  the  Indian  world.}  You  are  my 
heir — the  son  of  my  house  and  my  line. 

BLACK    WOLF 

[Intercepting,  as  THE  CHEVALIER  starts  to  $ull 
the  boy  by  the  arm.]  Half  Moon,  let  the  boy 
choose. 

THE    CHEVALIER 

Black  Wolf,  you  are  wise.  You  have  seen 
what  the  white  men  are.  Make  the  lad  know 
his  own  good.  What  you  have  called  the  thongs 
of  clan  and  home  will  but  bind  him  to  the  dead. 
His  mother's  people  can  be  nothing  to  him. 

BLACK    WOLF 

I  know  what  the  white  men  are;  I  know  what 
the  Winnebago  have  been.  Red  Wing,  I  will 
finish  the  dream  I  was  telling  as  the  Half  Moon, 
like  a  stranger,  came  upon  us.  It  seemed  to  be 
at  the  time  of  the  Evening  Star.  Over  the  vil- 


i82  WISCONSIN  PLAYS 

lage  hung  a  huge  yellow  cloud.  Shaped  like  the 
great  Eagle  Mound,  the  Thunderbird  of  our  peo 
ple.  And  a  mighty  wind  blew  in  heaven.  And 
the  Thunderbird  cloud  was  driven  to  the  west. 
And  the  wings  were  torn  away.  And  then  the 
head.  But  the  body  fell  into  the  sunset.  The 
Winnebago  will  not  fish  forever  in  these  waters 
.  .  .  but  their  graves  will  remain  forever  on  the 
bluffs.  Red  Wing,  will  you  choose  a  grave  with 
the  Indian  or  with  the  white  man"? 

RED  WING 

[Deliberately.}     I  will  not  go  over  the  Big 
Sea  Water. 

BLACK    WOLF 

Red  Wing  has  chosen. 

THE    CHEVALIER 

[RED  WING  is  near  the  wigwam.}     You  have 
forgotten  your  father. 

RED  WING 

[Advancing.}     You  are  a  squaw-man.     I  am 
a  Winnebago. 

GLORY    OF    THE    MORNING 

Will  the  Chevalier  eat  before  he  goes4? 


GLORY  OF  THE  MORNING       183 

RED    WING 

The  Indian's  squirrels  are  for  the  Indian's 
feast. 

THE    CHEVALIER 

It  grows  late.  Pierre  will  have  something  for 
me  over  in  the  Panther  Woods.  [Pause.] 
Glory  of  the  Morning,  I'm  not  to  blame.  I  can 
no  longer  do  my  work  in  your  world;  you  cannot 
follow  me  into  mine.  This  has  happened  thou 
sands  of  times  before  you  were  born :  it  will  hap 
pen  thousands  and  thousands  of  times  after  you 
and  I  are  dead. 

GLORY    OF    THE    MORNING 

The  Chevalier  is  talking  in  the  white  man's 
tongue. 

THE    CHEVALIER 

[Shaking  hands.]  Black  Wolf,  good-bye;  and 
be  kind  to  the  poor  foolish  boy.  [To  GLORY  OF 
THE  MORNING.]  Glory  of  the  Morning,  I  am 
giving  you  this.  [He  unbinds  a  silver  cross  from 
his  vest  under  his  coat.]  This  silver  cross  will 
protect  you  from  harm — I  hope  so — and  will  re 
mind  you  of  the  Half  Moon  who  tried  so  many 
times  to  explain  our  blessed  religion  to  you. 
Some  day  the  boy  will  have  a  squaw,  and  you  will 


184  WISCONSIN  PLAYS 

show  the  token  to  your  grandchildren.  Pere  La 
Rou  gave  it  to  me  only  two  months  ago  at  Mon 
treal — and  he  asked  about  you. 

GLORY    OF    THE    MORNING 

[Taking   the   cross   mechanically.}     Pere    La 
Rou  ...  I  remember  him. 

BLACK    WOLF 

[Pointing  with  the  calumet.}     Give  back  to 
the  white  man  the  white  man's  totem. 

GLORY    OF    THE    MORNING 

[With  longing.]     Let  me  .  .  .  let  me  keep  it, 
Black  Wolf. 

BLACK    WOLF 

The  white  man's  totem  shall  not  remain  in  the 
village  with  Black  Wolf's  calumet. 

[GLORY  OF  THE  MORNING  returns  in  silence 
the  keepsake  to  THE  CHEVALIER. 

THE    CHEVALIER 

Good-bye,  Glory  of  the  Morning. 

[GLORY  OF  THE  MORNING  gives  him  her 

hand  in  silence. 
Good-bye,  Red  Wing. 

[RED  WING  turns  proudly  away. 


GLORY  OF  THE  MORNING       185 

GLORY    OF    THE    MORNING 

[Firmly.]     Give  him  your  hand,  my  son. 

RED    WING 

[Obeying.]     Good-bye. 

[THE  CHEVALIER  and  OAK  LEAF  are  going 
toward  the  shore. 

GLORY    OF    THE    MORNING 

[Stepping  after,  and  embracing  and  kissing  the 
child.]  My  little  girl,  my  little  girl ! 

THE    CHEVALIER 

Come! 

[THE  CHEVALIER  and  OAK  LEAF  go  down 
to  the  canoe  upon  the  bank  to  the  right. 
They  launch  it  and  are  off. 

OAK    LEAF 

[Shouting  back  from  the  distance.]  Good 
bye,  Black  Wolf!  Good-bye,  Red  Wing! 
[After  a  brief  pause,  with  eery  voice.]  Good 
bye,  Glory  of  the  Morning ! 

[Motionless  and  silent,  GLORY  OF  THE 
MORNING,  RED  WING,  and  (at  a  little 
distance}  BLACK  WOLF  stand  watching 
the  canoe  gliding  away  toward  the  Panther 
Woods.  In  a  few  moments  BLACK 


186  WISCONSIN  PLAYS 

WOLF  sits  down  in  the  rear  on  a  boulder 
by  the  oak  tree,  and  is  busied  again  with 
the  feathers  on  his  calumet.  Then  RED 
WING  squats  on  the  ground  beside  him. 
After  a  moment  or  so,  GLORY  OF  THE 
MORNING  turns,  picks  up  quietly  the  buck' 
skin  shirt,  goes  over  toward  the  wigwam, 
em'pties  water  from  the  jar  into  the  kettle, 
and  begins  gathering  sticks  and  leaves  and 
arranging  them  under  the  kettle.  RED 
WING  jumps  ufi  and  helps. 

BLACK    WOLF 

Red  Wing,  you  are  a  man  now.     Building  the 
fire  for  supper  is  squaw's  work. 

[RED  WING,  half  ashamed,  goes  back  and 
squats  again  by  BLACK  WOLF.  GLORY 
OF  THE  MORNING  lights  with  the  tinder 
the  fire. 

RED    WING 

[After   a    moment, ,]     Mother    Glory    of    the 

Morning. 

GLORY    OF    THE    MORNING 

[On  her  knees,  half  turning  her  head.]     Yes, 
Red  Wing. 


GLORY  OF  THE  MORNING       187 

RED    WING 

Won't  Rainspot  be  sorry  he  couldn't  say  good 
bye  to  Oak  Leaf? 


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